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THE 
WOOING OF REBEKAH 


AND OTHER BIBLE PLAYS 











Behold, an angel touched Elijah and said unto him, ‘‘Arise and eat”’ 


THE 
WOOING OF REBEKAH 


AND OTHER BIBLE PLAYS 


A NEW METHOD OF DRAMATIZATION 


BYion 
ROSAMOND KIMBALL 


NL vr “THE (EL SES OF Nee MAYFLOWER,’ “YOU AND I AND JOAN,’ 
AMERICA’S DAUGHTER,’ "AND OTHER PLAYS AND PAGEANTS 


NEW YORK 
CHARLES SCRIBNER’S SONS 
1925 


Copyricnut, 1925, sy 
CHARLES SCRIBNER’S SONS 


Printed in the United States of America 


The Plays in this book are fully protected by the 
Copyright Act. Application for the rights of per- 
formance by professionals must be made to the 
author. This is not necessary in the case of amateurs. 





To 


MY FATHER AND MY MOTHER AND 
A BELOVED TEACHER 


YOU WHO WOVE INTO MY SPIRIT THE BIBLE’S JOY AND WONDER FROM THE 
VERY OUTSET OF ITS PILGRIMAGE UPCN THE EARTH 


I DEDICATE THIS BOOK 











avs 
Kee 
ee he meas 











DR a 
Payee ey 
4 Rt aa) dat, F : 
eo ANA Week 





PREFACE 


In teaching the Bible in our Sunday Schools the method 
is primarily intellectual. We use the senses of hearing and 
sight, by reading the Bible to the children and showing 
them pictures of the stories. But except in rare cases 
where a gifted teacher has been able to make it live for 
them through the power of her own spirit, our children sel- 
dom experience the Bible in any vital way. They think 
about it, rather than feel it and taste it and delight in it. 

The purpose of this book is to enable young people to 
live out the Bible, thus transforming it from an intellectual 
experience into a life experience. The stories here dramatized 
differ, however, from other Bible plays, for these are not re- 
written by the dramatist but follow the text of the Bible 
itself. The cost of production is slight, as simplicity and 
freedom from all artificiality is a major part of their success. 

In 1916 and 1917 two of the plays in this book, “‘The Na- 
tivity” and “The Resurrection,” were published. The 
immediate response which followed was evidence of the 
need for this work in the churches. Not only did there 
come letters from ministers but from other progressive spirits 
in many out-of-the-way communities—the wife of the super- 
intendent of a lumber-camp 250 miles from a railroad, a 
ranchman in the West who wanted to wake up his small 
community church, and a group of Indians in Alaska giv- 
ing “The Nativity” in such utter simplicity that they held 
up a small candle for the star. During the past ten years 
the other plays in this book have grown out of increasing 
calls to put them on in churches, settlements, reform schools, 
at summer conferences, and during the war in army camps 
and base hospitals. 

Some of the plays are suitable for special church fes- 
tivals—“'The Nativity ” as a Christmas service, ““The Resur- 

Vil 


Vill PREFACE 


rection”’ as an Easter service, and “‘Samuel in the House of 
the Lord” as a Children’s Day service. There are some that 
may be given effectively out of doors, perhaps for summer 
vesper services, as “The Wooing of Rebekah,” “Jacob’s 
Journey,” ‘‘Moses in the Bulrushes,” “Ruth,” and “The 
Prodigal Son.” 

There are also three large groups containing a series of 
short plays, The Joseph Series, The David and Jonathan 
Series, and The Elijah and Elisha Series. Each of these are 
in turn divided into groups. Thus a church need not give 
- the whole series at one time, but can produce one of the 
group only. 

I have had in mind the possibility that a Sunday School 
might wish to follow a dramatic programme for a season. 
Suppose, for example, that it should be studying one of 
these topics for several months. The plays are so arranged 
that one or two classes could give the scenes from the first 
group; at the end of a month, other classes the scenes from 
the second group; at the end of the next month, still other 
classes scenes from the third group, and so on. At the close 
of the season’s work all the classes might then repeat the 
whole series for the church and the community. 

To the late Charles Foster Kent and to Henry A. Sher- 
man, whose wise counsel I have had since first this book 
began to shape itself, and to the countless friends in many 
churches who have shared with me the absorbing task and 
the joy of producing these Bible plays, I owe a debt of 


deepest gratitude. RosaMonp KIMBALL. 


September, 1925, 
St. Cloud, 
West Orange, N. J. 


CONTENTS 


INTRODUCTION 


LIST OF PLAYS 


Tur Woorina or REBEKAH . 


JACOB’S JOURNEY 


Tue Story or JOSEPH 


Part 1. 
Part 2. 
Part 38. 
Part 4. 


Part 5. 


JOSEPH, THE LAD IN CANAAN . 
JOSEPH, A PRISONER IN EGypt 
JOSEPH, THE RULER oF Eaypt 


JosEpH Makers Himsetr Known to His 
BRETHREN . 


Tue MEETING oF JOSEPH AND JACOB 


Mosss IN THE BULRUSHES . 


Ruri 


SAMUEL IN THE HoussE oF THE Lorp. A CHILDREN’S Day 


SERVICE 


DAVID AND JONATHAN 


Part 1. 
Part 2. 
Part 3. 
Part 4, 


Davip, THE FutuRE KING . 
Davip, THE SHEPHERD Lap 
Davib, THE FUGITIVE f 
Davip AMONG THE PHILISTINES 


ELIJAH AND ELISHA . 


Part 1. 
Part 2. 
Part 3. 


EvisaAn’s MIRACLES . 
ELIJAH AND ELISHA . 


Tue Heauinea or NAAMAN 
1X 


x CONTENTS 
Tue Nativiry. A CHRISTMAS SERVICE 
Tue PropicaLt Son 


THe ReEsuRRECTION. AN EASTER SERVICE 


PAGE 


219 
Q41 
251 


ILLUSTRATIONS 


Behold, an eee touched ert and said unto him, “Arise and 


are Eh a a TONES piece 
FACING PAGE 


And Abraham’s servant ran to meet Rebekah 


And Bethuel said, “Bring meat and set it before our guest | that we 
may dine with him” aks : 


And Jacob said, “I will serve thee seven years for Rachael wo 
younger daughter” : 


And Moses’ sister said to Pharaoh’s daughter, “Shall I go and call 
to thee a nurse of the Hebrew women?”’ . : 


And Elijah said, “O Lord, my God, I path thee let this child’s soul 


come into him again” 


And the shepherds came with haste and found OE and pee 
and the Babe lying in a manger 


“Father, I have sinned against heaven and in thy sight and am no 
more worthy to be called thy son”’ 


30 


34 


Ah 


104 


196 


234 


248 





THE 
WOOING OF REBEKAH 


AND OTHER BIBLE PLAYS 


q is 


a ‘ 
ems 





INTRODUCTION 


Twelve years ago I was visiting a summer camp where a 
very simple and beautiful dramatization of the Bible story 
of Ruth was given out of doors. As the story was unfolded 
before us, quick visions of hidden truth and beauty seemed 
to flash out like new stars in a familiar sky, and with it 
came the realization, filled with wonder and joy, that some- 
how, by means of the dramatic method, hidden springs of 
spiritual power in the Bible were being released. So it was 
somewhat with the feeling of a traveler who is starting upon 
a journey which is to carry him into a strangely wonderful 
but unexplored country, that I set out to seek, with the young 
people of our churches, new avenues of approach to the Bible 
by living out the Bible stories. 

The Mystery and Miracle plays which first appeared in 
the eleventh century and flourished throughout Europe for 
five hundred years were the earliest effort of the church to 
educate the people by turning the Bible stories into living 
pictures. The plays were first given in the churches them- 
selves, the parts being taken by the clergy and the choristers. 
Later they were taken onto the streets and performed on 
movable platforms by the people of a village. By the thir- 
teenth century, every town in England had its fraternity for 
the performance of Miracle and Mystery plays. The source 
of power of these earliest Mystery plays lay in their simplic- 
ity and sincerity of expression, and it was not until vulgarity 
and irreverence crept in, that their influence began to de- 
cline, but even at the time of the Reformation, Martin Luther 
said that they did more good and produced a deeper impres- 
sion than a sermon. 

1 


2 INTRODUCTION 


This first effort at Bible dramatization, however, belongs 
to the past, and if we are to undertake again the delicate 
and difficult task of dramatizing the Bible, we cannot turn 
back to the methods of earlier centuries. A new technique 
must be found to answer the need and the hunger of our 
generation for truth that is vital and balanced, meeting the 
full demands of modern scholarship but without the loss of 
the spiritual and mystical elements. 

It must be emphasized at the outset, that the plays in this 
volume are not Bible plays in the generally accepted mean- 
ing of that term. The Bible stories as they are here 
dramatized have not been rewritten; that is they do not sub- 
stitute the words of the dramatist in place of the Bible words. 
Another end has been held in view. The purpose in the prepa- 
ration of these plays is to follow altogether and completely 
the Bible itself in so far as it is possible. 

In order to fulfil this purpose the Bible is read as a back- 
ground to the action wherever the characters themselves do 
not speak. In this way the story remains unaltered and 
flows on by means of the voice of the reader together with 
the action of the characters, just as the Bible itself pictures 
it. Where the situation seems to warrant it descriptive 
verses in the narrative have been changed to dialogue spoken 
by the characters, but this has only been done ‘after the 
greatest care to keep it as close to the text and the spirit 
of the Bible words as possible. The Authorized Version is 
used for the text as the one best known and beloved by the 
largest number of people. 

As is the clay to the sculptor or color to the artist, so 
the Bible is here the medium of the dramatic artist for reveal- 
ing truth; but unlike any other medium of art, the Bible 
itself is surcharged with power, it is the Word pulsing with 
spirit and with life. The dramatic artist, therefore, who 
realizes the deeper spiritual forces with which he is dealing, 
will not approach the Bible as if it were merely literature 
whose dramatic elements are to be remolded into a play; he 


INTRODUCTION 3 


will know that his problem is more difficult and delicate. 
With sandals removed from off his feet because he knows 
that it is holy ground, he will take the story as it stands in 
all its vivid simplicity and reverently clothe it with a back- 
ground of music and color, while later, as director, his duty 
will be to keep it free from all trammels of insincere or arti- 
ficial expression by allowing the Bible to quietly open the 
eyes and ears and the hearts of those who are living out its 
scenes. 

In working with churches of almost every denomination, 
the question of the interpretation of the miraculous elements 
in the Bible sometimes arises. As we are dealing with the 
Book of Books which holds its truth alike for peoples of all 
types of mind, and of all creeds, I have found that the 
literalist, the mystic, or those of the scientific type of mind, 
can all meet on the common ground of the spiritual signifi- 
cance of the story. For example, in giving the Annunciation 
Story in The Nativity, there will be some who do and some 
who do not believe in the historicity of the Virgin Birth, but 
all believe profoundly in the spiritual truth lying back of the 
Incarnation, that the living Christ is always born in the 
virgin side of the soul whenever He incarnates Himself in a 
human life. 

Likewise with the Resurrection, all can unite upon the 
ground of the profound truth of eternal life which the 
marvelous story portrays in such vivid pictures of the empty 
tomb, the angel visitants and the risen Christ. 

I have also found that different types of mind in the same 
church interpret the angel visitants, who so often appear in 
the Bible stories, in different ways. What matter it, if some 
believe that the angels were indeed able to reveal themselves 
to men of spiritual vision, while others feel that they were 
images of the imagination, since it is evident that the funda- 
mental truth back of these angel stories is that men are 
under the guidance of spiritual influences during their earthly 
lives, 


4: INTRODUCTION 


The plays are arranged so that they may be given in the 
chancel of the church itself. In a few cases, it will not be 
necessary to use a curtain, but for the most part a curtain 
is advisable, it does not detract from the sacredness of the 
chancel, as some have feared until they saw it, and it makes 
possible the passing from scene to scene, with soft music be- 
tween, without breaking the feeling of reverence which should 
clothe a religious service. For these are primarily dramatic 
services, not alone plays. 

Out of this work of guiding and helping young people to 
live out the Bible stories, there has grown a conviction of 
certain truths that are essential to an understanding of this 
method of Bible work. 

I. That the Bible, aside from its literary and ethical values, 
is a vast storehouse of spiritual power. 

II. That these spiritual forces within the Bible may be 
released by mears of the dramatic method, if the Bible text 
is used and acted out in all its simplicity. 

III. That those who take part are touched by this spiritual 
power and, if the proper method of training is employed, 
themselves become a channel through which this power flows 
to those who see it. 

Let me illustrate. 

During the war, with the help of several groups of young 
people and the soldiers themselves who were in the Service, 
The Nativity and The Resurrection were given in army camps 
and base hospitals in and about New York City. We played 
to great gatherings of two or three thousand soldiers, of 
all races and creeds. Always the audience was held in rapt 
silence, there was an atmosphere of almost mystical worship 
in those great halls. Just as the rays of the sun, when 
focussed by glass, burn with the intensity of their heat, so 
the power in the Bible seemed focussed by the threefold ap- 
peal of voice, action, and the spirit of the actors, until it 
burned its way into the hearts of those who saw it. When 
the dramatic service was over, all the congregation, swept by 


INTRODUCTION 5 


a deep sense of worship, would get down on their kneees and 
unite in the Lord’s prayer, then silently leave the auditorium. 
At the close of one service, a group of soldiers returned, say- 
ing that they were “sent by the boys to thank us and to tell 
us that we had given them a play that they would never 
forget, and would we not give them another like it soon?” 


METHOD OF TRAINING 


To illustrate the method of training to be used in prepar- 
ing for these Bible plays and to show how the Bible reaches 
and unfolds the spirit of those who take part, I am reminded 
of three lively boys who somewhat reluctantly were urged to 
be the Wise Men, one Christmas time. They were awkward, 
flippant, and full of pranks at the first rehearsal. But the 
dramatic director quietly talked over the story with them, 
stirring their imaginations to a sense of the dignity of the 
three strangely wise kings who, far away in the east, had 
believed and dreamed of the coming of the Messiah, and had 
sought in their books of ancient wisdom for the signs and 
the time when the star should appear. How they had waited 
and watched from the top of their palaces in Persia per- 
haps, and at last, one night the star shone out from the 
depths of those eastern skies. And then how quickly they 
had gathered their most precious treasures and set out upon 
camels to cross the endless deserts, following wherever it 
might lead, until at last, they came to a tiny village among 
the hills of Judah and in breathless wonder entered the low 
door of a stable. 

Our three boys must think themselves into the lives of these 
Wise Men until they can feel how they felt, when after years 
of waiting and days of travel, they looked upon the face 
of that little baby in the manger and knew that he was the 
Prince of Peace. 

The boys will express it awkwardly at the outset, but are 


6 INTRODUCTION 


cheered by the assurance of the director that it always takes 
time to grow into anything so big as this, and that they 
must go home to reread the Bible story and think it over. 
Then as the power of the Bible begins to lay hold of them 
they will grow into a simple but sincere and beautiful ex- 
pression of it all. 

They were reminded that it was not what they did but 
what they felt which was of first importance, and that, as they 
grew to realize the wonder and joy of the Wise Men, their 
bodies would unconsciously express the thoughts of their spirit. 
They were not drilled but filled with a sense of the sacredness 
and meaning of it all. 

When at last The Nativity was given, after three weeks 
or a month of preparation, with one rehearsal a week only, 
to carry along the quiet unfolding growth, these same boys 
portrayed the spirit of the Wise Men so fully that several 
of the congregation said after it was over, “Where did you 
ever find boys like that! ‘They reminded us of the picture 
of the young apostle John as he is hurrying to meet the risen 
Lord.” 

Another boy was chosen to take the part of Zacharias. At 
the first rehearsal he seemed almost lifeless in his lack of 
response. I read and talked over the story with the actors, 
going through the general outline of the part, but his spirit 
was asleep to it all. Others told me that at home as well 
as in church work he was unresponsive. He did, however, 
promise to read the whole story and learn his lines. Then 
we waited for the Bible to do its work with him. 

There is nothing to equal in wonder the joy of seeing the 
Master as He touches and stirs a human soul. The director 
will stand aside, knowing that it is holy ground, waiting only 
to help as he is called upon to say a word here, or stir the 
imagination there. So we watched the boy, Zacharias, come 
awake, guiding him just a little as his spirit unfolded into 
wider spiritual spaces. 

At the third rehearsal we talked it over as follows, “Zach- 


INTRODUCTION fi 


arias, one of the most wonderful places in the story is where 
you have seen the vision in the temple and passed out be- 
fore the curtain to tell it to the ‘great multitude waiting 
without.’ Your lips are sealed by the angel—you cannot 
speak—and yet you must tell them, somehow, that you have 
seen that angel, and you will carry his presence out with you 
from the altar.——How are you going to do it?” 

Zacharias was all alive now, and it seemed as if his very 
spirit were speaking through half-parted lips and out- 
stretched hands and shining eyes, as he stepped before the 
curtain after it had closed upon the vision in the temple. 
The Bible had loosed him from his prison house and he went 
out from that experience into a larger and happier life. 

One of the angels in the Resurrection, at one time during 
the war, was a young girl of winning personality but lacking 
in deeper spiritual qualities. Her chief concern at the outset 
was to look pretty in her part. As she grew into the mean- 
ing of the message of eternal life which she was to give, not 
only to the sorrowing women and wondering disciples, but 
to the soldiers fresh from the battlefields of France, a change 
took place. And so when her time of preparation was past, 
she stood before the open tomb, a messenger, nor can one 
forget how she paused before that sea of upturned, eager 
faces—paused because she afterwards said—“When I saw 
all those soldiers, and thought of their friends left behind 
on the battlefields, and that I could say to them, ‘He is not 
here, for He is risen’—it was so wonderful that for a moment 
it just wouldn't come out!” 

At another time I saw the Bible touch and unfold the 
spirit of a young girl in a reform school. She was to take 
the part of the Angel Gabriel, and as she began to recite 
her lines, the power of those wonderful words descended upon 
her life like healing wings, “Hail, thou that art highly favored, 
the Lord is with thee, blessed art thou among women.” Each 
time that she finished the message she begged to be allowed to 
go over the part again. It was as if she were clothing herself 


8 INTRODUCTION 


in this angel character as in a beautiful garment and could 
not bear to lay it aside for the torn robes of her marred 
young life. 

At first she could with difficulty express anything of its 
beauty or depth of meaning. Her face and voice were hard 
and harsh. Then to make the picture of the angel clearer 
for her imagination to build upon, we talked it over to- 
gether. “What a wonderful being Gabriel must be!—so holy 
and pure and true that he could stand in the very presence 
of God. And he was so filled with love that it shone out all 
around him and clothed him in light as in a garment. Did 
she not feel that she could express that love and that beauty 
of holiness a little more in her voice as she talked so tenderly 
to Mary?” 

Again and again she lived over the part until the work 
of the Great Physician, who was entering the hitherto fast 
closed door to touch and heal, had been completed. It was 
with a sense of wonder and awe that one saw the light come 
into her eyes, the hard lines fade, and new tenderness soften 
her voice. At last she drew a deep sigh as she unconsciously 
clasped her hands to her heart. “Ah,” she said, “it makes 
me feel different in here to say it.” 

Thus, while taking part in these Bible plays, a girl or a boy 
puts on, for the time being, another character; and in so 
far as he feels the depth and beauty of it, is his own char- 
acter molded and strengthened and the eyes of his spirit 
opened. No boy can stand before the Giant Goliath as the 
boy David and cry, “Thou cometh to me with a sword and with 
a spear and with a shield, but I come to thee in the name of the 
Lord of Hosts,” without building a little of David’s uncon- 
querable courage and trust into his own life. 

Nor can Elijah, lying prostrate with despair beneath the 
juniper tree, feel the angel’s touch and hear the words, “arise 
and eat for the journey is too great for thee,” without carry- 
ing the memory of that experience out into life with him where 
years after, in a moment of temptation or discouragement, 


INTRODUCTION 9 


the angel message may come again to remind him that there 
is meat and drink at hand which will again bear him in strength 
“forty days and forty nights” until he has reached the Mount 
of God. 

It will be seen by these illustrations that as the rehearsals 
progress those who take part are learning that their bodies 
are merely tools of the spirit and that what they feel will 
unconsciously find its expression in what they do; and that 
whatever does not come from the real part of themselves is 
bound to be mechanical and valueless. The director will there- 
fore never show an actor any gesture to be imitated, but she 
will analyze the situation in order to stimulate the imagina- 
tion and lead him into the feeling for it all. Especially must 
this be done when the boy or girl will ask, “What shall I 
do here?”’ 

Let us turn for example again to the Nativity in those 
wonderful moments when the Annunciation Angel is giving the 
message to Mary. The director will explain how every Hebrew 
maiden, at that time, knew of the promised coming of the 
Messiah. But Jesus was not an uncommon name in those 
days, and so it was not until Gabriel said, “He shall be 
great and shall be called the Son of the Highest,” that Mary 
realizes it is of the Messiah that the angel is speaking. ‘The 
Maiden who is taking the part of Mary will then herself 
fee] that this is the moment when she would wish to kneel, 
while before she has merely drawn back in wonder and amaze- 
ment at the shining presence that has appeared before her 
as she looks up from her reading of the scroll of psalms. 
And as she kneels, would she not want to raise her head 
again to drink in every word of the angel? When Mary 
at last speaks, “Behold the handmaiden of the Lord,’ she 
must be allowed to do what the spirit directs in bowing or 
raising her head. Let Mary try it out by herself and decide 
what she feels is right to do before the next rehearsal. 

The moment when Mary rises from her prayer to “go with 
haste into the hill country of Judah” is another difficult part 


10 INTRODUCTION 


requiring analysis. The director will remind Mary that her 
thoughts are filled with the Angel’s message and her first 
desire is to seek her dearest friend, Elizabeth, and share it 
all with her. Mary should be reminded that when our minds 
are filled with some wonderful memory picture, we become un- 
aware of our immediate surroundings. So at this time Mary 
would rise, and holding the thought of the angel vision be- 
fore her mental eyes, as if she saw the angel still before 
her, pass quietly and swiftly from the room. ‘Thus as she 
loses herself in it all, any awkwardness of expression will 
vanish, she will not run from the room nor will she merely 
walk out. Moreover, as she holds to the vision, her eyes will 
naturally raise themselves a little above her surroundings, and 
we shall feel that she is hurrying to Elizabeth, bearing the 
tidings of great joy in her heart. 

The director should also analyze for Joseph, the moment 
of his awakening from the dream of the angel’s warning to 
flee into Egypt, somewhat as follows——‘“Do you not remem- 
ber that when you wake from a very vivid dream, you often 
feel as if the one seen in your dream was still with you? I 
think Joseph must have still felt the angel’s presence, as 
he woke from his dream, don’t you? He would open his eyes 
and slowly turn, as he sat up, as if he expected to see the 
angel still bending over him. ‘Then, he would gaze out be- 
fore him, pondering deeply about the dream. As the Angel’s 
warning flashed again into his mind, he would turn to gaze 
into the manger at the baby Jesus, and then look up at 
Mary, as if he were telling her about it. She will understand 
and rise to gather the baby in her arms as he picks up his 
staff and stands protectingly beside her.” All this silent 
action is accompanied by soft music which helps Joseph 
interpret his moments of awakening. 

Thus the director’s suggestions should help to interpret a 
situation and stimulate the boy’s, or girl’s, imagination. He 
should then be allowed to express it in his own way. 


INTRODUCTION 1i 


Ancets In Tue Bisite Prays 


In choosing those who are to take the part of Angels, I 
prefer girls rather than boys, because of the effect of soft 
hair and more sympathetic voice. It is very important for 
these angel parts that the voice should be considered as care- 
fully as the actor’s capacity to feel and understand the 
part. She must have a voice that is clear and sympathetic, 
and with this, the director can help her develop the deeper 
and tenderer tone qualities. It has been said that the timbre 
of a person’s voice indicates his stage of spiritual develop- 
ment. A hard, cold voice does not come with a nature deep 
in its capacity for love and sympathy. Our angels must 
have the type of voice, that, with a little training, can ex- 
press love and tenderness, and deep reverence. By using 
the higher tones, fullness of joy is expressed, and by lower- 
ing the voice, warning or admonition is given in darker tone 
colors. And in all this, the voice is lending itself sympa- 
thetically to the background of music. The average girl 
can soon grow into this beautiful tone expression, if she is 
led to think out, and then live the part. Finally, all the 
actors, but especially the angels, must be led to speak 
slowly, and to make use of the pauses between changes of 
thought. The pauses are most important in producing ef- 
fects, but all young people must be trained to recognize their 
value. Let us quote from an Angel message in the Nativity 
to show how the pause and the voice tones should be used. 

Gabriel (very tenderly) Fear not, Mary; for thou hast 
found favor with God. (pause) And behold (pause) thou 
shalt bring forth a son (pause), and shalt call his name 
(pause) Jesus (pause). He shall be great (pause, then rising 
inflection of joy) and shall be called (pause) the Son of 
the Highest (pause). And the Lord God shall give unto 
Him the throne of His Father David (pause). And He shall 
reign over the house of Jacob forever (pause). And of His 


12 INTRODUCTION 


kingdom (very slowly, to express infinity) there shall be no 
end. 

(A long pause as the angel takes one step toward Mary 
and lowers her voice to more intimate tones of love and 
reverence.) The Holy Ghost shall come upon thee (pause), 
and the power of the Highest shall overshadow Thee (pause), 
therefore, also that holy Thing which shall be born of thee 
shall be called (pause and with lower tones of deep reverence) 
the Son of God (pause) for with God (pause) nothing shall 
be impossible. 

And this, from the Resurrection :— 

Angel (tones deep with reverence) Fear not (pause), for 
I know that ye seek Jesus (pause) which was crucified (long 
pause). Why seek ye the Livine (pause) among the dead 
(pause followed by rising inflection of joy and triumph)? He 
is not here (pause) for he is RiszeN (pause), even as He 
said (pointing to the empty tomb) Come (pause) see the 
place where the Lord lay (pause, then very gently) Re- 
member how He spake unto you, when He was yet in Galilee, 
saying (pause): The Son of Man must be delivered into the 
hands of sinful men (pause followed by a lowering of the 
tones) and be crucified (pause) and the third day (pause 
followed by rising inflection of triumph) rise again!” 

In training the Angels, we must remind them that they 
have come from the heavenly world and would enter as silently 
as light. Let them practice entering noiselessly with the 
feeling that they are “as light as feathers.” As they feel 
this, imaginatively, they will begin to express the sense of 
lightness in their motions. They must also stand very still 
as they speak, with one hand softly raised. All their motions 
of the head and arms must be slow, never quick nor jerky, in 
order to give the effect of a vision. But they may enter 
swiftly and silently, and when passing out, they do not turn 
to depart, but move softly backwards with arm still up- 
raised, as if the vision were fading. If they must pass down 
a flight of steps from the pulpit platform, they should turn 


INTRODUCTION 13 


as they reach the steps, as a stumble or fall would at once 
destroy the illusion. 

We have not wanted the angels to wear wings, for we have 
wished to hold to the Bible truth, as it describes so 
simply and vividly these angel visitants, not clothed with the 
trappings of the medieval artist’s fancy, but as “messengers” 
from the spiritual planes of life, having reached the “full 
measure of a man, that is, of an angel.” 


LirrLe CHILDREN IN THE Bisie Puays 


Little children should be used in the Bible plays wherever 
the theme is suitable for them, as they bring with them an 
atmosphere which is “of the kingdom of heaven.” ‘There is 
no difficulty in stirring their imaginations to feel and live the 
parts. 

In The Nativity, the shepherds in the field are often little 
children from five to six years old. All that is necessary 
is to picture to them the hills of Bethlehem at night, with 
the stars overhead, and tell them the story of how the angels 
are coming to give them the message about the little baby 
Jesus, as they are watching and guarding their sheep from 
the wild beasts. ‘Then we enter the chancel together and seat 
ourselves by a “make believe” fire warming our hands and 
looking about to be sure that our sheep are all safe, and then 
we stretch out as if we were going to stay there all night. 

As the children get into the feeling of it, they will tend 
to take the most natural positions by the fire, but if they 
should all sit down in the same way, a touch here or a sug- 
gestion there, that they make a little more of a semicircle,— 
or that “Jack doesn’t look very comfortable, and he might like 
to lie full length with his head on his hand—so—while Bob 
stays as he is, cross-legged,—because, we haven’t the least 
idea that the angels are coming to tell us what a wonderful 
thing has happened to-night just over the hills, and so we 
are settling ourselves to spend the whole night by the fire,— 


14 INTRODUCTION 


and the sheep are all safe and quietly sleeping all around us.” 

And then you quietly repeat,—‘And lo, the Angel of the 
Lord came upon them, and the glory of the Lord shone round 
about them, and they were sore afraid.” The Angel has 
entered, as you are saying the Bible words, wearing her 
white robes,—and you will say,—What do you feel like doing, 
little shepherds, when this wonderful angel appears before 
you? See! her hand is uplifted,—she is going to tell you 
something !—Yes, that is right, we want to scramble to our 
feet, and draw back a little too, for we are just a bit breath- 
less at all the light and the loveliness of the angel. But we 
wouldn’t all scramble up at once, because the child with his 
back to the angel would not see her as soon as the other.— 
Who would see the angel first?—Yes, Bob, because he was 
facing her, and as Bob gets to his feet Jack would see the 
wonder in his eyes, and perhaps turn about there on the 
ground to see what Bob is looking at—yes, like that—and 
then he would see the wonderful Angel and scramble up too,— 
and Gordon is also up by this time just gazing at the Angel. 
Don’t forget to keep your eyes every minute on her face, be- 
cause you have forgotten about the fire and the sheep and 
everything.” 

If very little children are to remain for some time in a 
scene, give them something to do, thus they will keep all the 
unconsciousness of childhood, as they are busily occupied dur- 
ing the scene. 

For example, when Little Samuel enters to serve in The 
House of The Lord, have him carry a platter of shewbread, 
which he knows he is to arrange in two straight rows upon a 
little stand beside the altar, until his Mother enters and calls 
to him. When he goes to bed in the last scene, he unrolls 
his pallet, takes off his little coat and folds it up neatly 
and lies down and covers himself up, just as if he were in 
his own room. And the soft music is playing so he need not 
hurry. The little son of the Widow also is given some stones 
and a small toy or two to play with beside his Mother’s 


INTRODUCTION 15 


door as the Prophet Elijah is performing the miracle of the 
cruse of oil. 


PRaAcTICAL SUGGESTIONS FOR THE DrREcTOR AND HER 
ASSISTANTS 


The Director should first meet with the church workers who 
are to assist her in putting on the play. At this time a 
Director’s Assistant, a Chairman for the music, a Chairman 
for the costume committee, and a Chairman for the properties 
committee should be chosen. 


Tue Drrector’s AssIsTANT 


The Director’s Assistant, with the help of the Sunday 
school teachers, will choose the boys and girls who are to 
have the privilege of taking part in the play. She will see 
that all the possible candidates come to the first rehearsal, 
and after the parts have been chosen, she will notify them of 
all rehearsals and be on call to assist the Director and re- 
lieve her of the many details that will arise. 


Tuer CHAIRMAN OF THE Music CoMMITTEE 


The Chairman of the Music Committee is often the organist 
or the one who has charge of the music in the Sunday school, 
as he must train those who are to sing the hymns and the 
solos, if any, which are to be used in the play or between the 
scenes. He will also play the soft music which is used as a 
background for many of the scenes. It is wise to use music 
with all the rehearsals after the first, as it is the greatest 
help in creating the atmosphere. Often a child will say, “It 
makes it so much easier to feel it and do it when there is 
music.” 

In some cases a little child’s voice will not be strong enough 
to be heard even with the softest music. The Musica] Di- 
rector will be ever watchful never to drown out a voice and 


16 INTRODUCTION 


will stop altogether when a child is speaking who could not 
otherwise be clearly heard. 

Some of the music for the background of the scenes should 
be orchestral, as the storm music in Elijah and Elisha, or 
the semi-barbaric music in the Pharaoh Court scenes. Vic- 
trola records are very effective for these. ‘There are other 
selections that may be too difficult for the average musician 
or violinist to play well. I have therefore indicated that vic- 
trola records may be used. But whenever the selection can 
be well rendered on the organ or piano, the record may be 
dispensed with. 

There should be some one to stand beside the victrola and 
the organist with all the cues for the music, as it is most im- 
portant that the music should come at exactly the time 
indicated. 

In ordering the records be sure to state that you wish the 
violin or orchestral, not the vocal arrangement. 

The following records have music used in the plays on both 
sides of the record, thus saving the expense of buying two. 


Ave Maria, by Schubert 
On the Wings of Song, by Mendelssohn 


Morning, by Grieg 
The Death of Ase 


The Swan, by Saint-Saéns 
Rubinstein’s Melody in F 


Tur CHAIRMAN OF THE CostuMES COMMITTEE 


The church should not have to spend much money for 
costumes, nor should they be hired from a theatrical costumer, 
which is very expensive. A little ingenuity, with the addition 
of a few hours’ search in attics, will result in wonderful dis- 
coveries. Old draperies, scarfs, couch covers, persian shawls, 
together with a little money spent for white cheesecloth and | 


INTRODUCTION 17 


red or brown or blue percaline and cambric, will result in very 
satisfactory costumes. 


A Frew GENERAL SUGGESTIONS ABOUT CosTUMES 


In making the angels’ haloes, place strips of surgeons’ 
plaster on the back of gold lacquer paper. And for an 
angel’s or a soldier’s gold or silver sandal bindings do the 
same, using wider surgeons’ plaster for the soldier’s bindings, 
than the angel’s. 

In making armor for soldiers, paint the back of oilcloth 
with silver radiator paint. It gives the effect of steel plate. 
A wide strip of this fastened around the body, with straps 
of the same over the shoulders, a short red jerkin under the 
armor and a helmet of painted card board, a shield of the 
same, silver sandal bindings bound about the legs to the 
knee, and a silver tipped spear makes a very effective soldier’s 
costume. I use brown for the jerkins of the common soldiers 
and plainer helmets; red jerkins, a red cape hung from the 
shoulders, a shield, and more elaborate helmet for the officers. 
In the case of a King, as Saul, I use gold instead of silver 
for the color of the armor, and a red cape fastened to the 
back of the shoulders. 

In general, the Bible costumes are made by draping the 
material in two long panels with a hole cut for the head and 
openings left on the sides for the arms. Long strips hung 
over the arms and reaching to the knee and fastened at the 
shoulders make sleeves for the women’s costumes. Over these 
robes material of another color can then be draped from 
the left shoulder around under the right arm, allowing it 
to hang loosely as low as the knee, and up to the left shoulder 
again. Or in place of this a long head dress can be used, 
instead of the shorter one. Both are bound low over the 
brows and tightly about the head, either with a cord, or bound 
back and fastened with a pin. 

We seldom use false hair for any character, except, at times, 
beards for an old man’s part. But as a rule, I prefer a 


18 INTRODUCTION 


younger interpretation of a part, to a “made up” old man. 
I never want the characters to be made up with paint as 
of course there are no footlights in the chancel, and anything 
artificial or theatrical takes away from the spirit of the 
service. 

The Tissot Pictures are the best authority on Old Testa- 
ment costumes. 


Tur CHAIRMAN OF THE COMMITTEE ON PROPERTIES 


This Chairman will have charge of making and assembling 
all the properties. And she should be behind the scenes to 
take them on and off at the proper times. It rests with 
her to see that there is no confusion behind the curtain dur- 
ing the changing of scenes, and that all moves quietly with- 
out noise, so as to break the atmosphere which the music 
is holding, until the curtain parts again. She must there- 
fore have the properties systematically arranged on both 
sides of the church behind screens or in the ante-rooms so 
that the two sides of the stage can be cleared and rearranged 
at the same time. She will need an assistant for this, to 
carry the things on and off quickly at one side while she is 
arranging the other side. In some of the longer plays she 
may need two assistants. 

She will also have charge of the curtains, opening and 
closing them at a given signal. It is sometimes necessary to 
have a pin ready to fasten the curtains securely together be- 
tween scenes, as there is nothing more unlovely than to have 
them brushed a few inches apart and see the people changing 
scenes within. 


A Frew GENERAL SUGGESTIONS ABOUT PROPERTIES 


Wetts.—In several of the Bible plays a well appears. 
These are made with gray building paper secured from a 
carpenter. It is stood up on end in a circle about three feet 
in diameter, and braced across the bottom and on the sides 
with a framework of narrow strips of wood, so that it is 


INTRODUCTION 19 


light and easily carried. When it is made, mark with heavy 
black crayon irregular stones all over the outer surface. A 
picture of a well made in this way is seen in the photograph 
of Rebekah at the Well. 

Aurars.—several large rough stones, piled one upon the 
other, make effective altars of the sort that Jacob built in 
the Wilderness of Bethel. The more elaborate altar of the 
Priests of Baal in Elijah and Elisha is built with burlap 
bags of sand for a base and a ring of stones placed on top 
of them. The gold altar of the temple is made by covering 
a wooden box with gold lacquer paper and standing it on end. 

A Camp Fire.—A fire is represented by placing a hand 
electric light, covered with red tissue paper, among a few 
branches of pine or hemlock. The whole can be arranged 
beforehand on a tray and carried in and placed upon the 
platform. 

In general, backgrounds of greens with perhaps one or 
two small cedar trees is all that is necessary for the outdoor 
scenes. Rocky seats are made by covering boxes with brown 
percaline. 

In planning the indoor scenes, it must be remembered that 
all oriental houses were extremely simple in their furnishings. 
An oriental rug, a small carved table with a candlestick upon 
it, if necessary, a couch covered with a bright drapery, an 
oriental curtain at the door, and a brazier or a platter against 
the wall will give the right effect. 

For the scenes in the King’s palaces, more gorgeous hang- 
ings, a throne, with perhaps a brilliantly draped screen be~ 
hind it, tall candlesticks, braziers, and rugs give the atmos- 
phere of the palace. But it is better to keep even these 
scenes simple, using one or two effective pieces rather than 
many things which gives a sense of confusion. 

Tur Use or Licuts.—The way in which you light a scene 
is only second in importance to the music in creating the 
right atmosphere. In general we are inclined to use too 
brilliant lighting for scenes. But when a play is given in 


20 INTRODUCTION 


a church, this error is not so likely to occur, as there are 
fortunately no footlights and we must depend upon the lights 
overhead and at the sides. Of course all the lights in the 
church except those close to the chancel are turned off during 
the play. For night or twilight effects cover the electric 
globes with red or dark blue crépe paper. For soft light 
effects in houses, cover the globes with amber crépe paper. 
Always use soft light effects and very soft lights for the 
temple scenes or wherever lights from an altar, or a branched 
candlestick are to be used éffectively. 

When an angel is about to appear, have the lights in the 
scene dim, and throw the light from an electric reflector upon 
the angel as she enters. If she moves about, let the light 
always cover her, as if she were “clothed in light as in a 
garment.” 


Tue CuHoice or CHARACTERS FOR THE PrLays 


At the first rehearsal the Director will talk over the play 
with the group of young people who have been chosen to meet 
with her. It is her part to picture it for them, awakening 
them to a sense of its beauty and the joy that is in store for 
them in living out a Bible story. 

The characters will then be chosen, not arbitrarily, but with 
the assistance of the girls and boys themselves. Try out those 
who would like to take certain parts, having each read a few 
lines. Often the young people themselves will make extremely 
keen and impartial critics. The final choice, however, should 
in most cases rest with the Director, as with her knowledge 
that the play is not to be given for the benefit of the congre- 
gation alone, but also for the spiritual experience and growth 
of the actors, she must consider those who deserve it most, 
also those to whom it would mean a great deal to take part, 
and the boy or girl who needs the development of such a part 
at just this time. 

Thus, in making her choice, the Director is not alone seek- 
ing the one who looks best in the part. In preference to a 


INTRODUCTION 21 


very pretty girl, I once chose another with no distinctive 
external beauty. She was keeping together a tiny home in 
a tenement for a crippled sister and a “‘ne’er do well’ father, 
and her beauty of spirit, won from a hard and sordid life, 
found its complete expression in her character part in the 
Bible. She lent to the play the rare beauty of a radiant 
spirit. 

When the characters have been chosen, the time for re- 
hearsals should be agreed upon. The time of preparation 
should not be hurried. It is a period of spiritual growth 
and we cannot force the unfolding of the spirit any more 
than we can force the opening of a flower. One or two re- 
hearsals a week are ali that are wise to have. And for plays 
of the length of The Nativity and The Resurrection, only 
four or five rehearsals are necessary. If you rehearse too 
much, the spontaniety is lost. It must be given just at 
the time when the actors have reached their full powers of 
expression, without having lost the freshness of interpretation. 


THE READER 


The Reader must be chosen for her voice quality. As the 
reading is done behind the scenes, it must be a voice of good 
carrying power with sympathetic qualities that will blend 
with the music and also reveal in its very tones a love of 
the Bible. ‘The one who is to read when the play is given, 
must also read at the rehearsals in order to grow into the 
very close harmony that must exist between herself and the 
actors. It is most fortunate when the director herself is the 
one well fitted for the part of Reader. 

The Reader must always remember that it is she who 
watches the action and pauses or slows down to allow the 
verses which she is reading to form the background for the 
action. For example, when it says, “And the Angel of the 
Lord appeareth unto Joseph in a dream, saying ited Ware 
Angel enters and bends over Joseph while the reading is going 
on, and speaks as soon as the voice of the Reader ceases. It 





22 INTRODUCTION 


will be readily seen that if the Reader spoke and then the 
action, which she has described, took place, it would be very 
disjointed and inartistic. But the actor must never feel that 
he is trymg to keep up with the Reader. It is her part to 
follow his action, allowing him to take all the time that he 
wants, with no sense of hurry. 

Over and above all else in importance is the necessity for 
all who take part to realize that it rests with them to create 
an atmosphere which, like a garment of light, will clothe 
the whole service. They also grow to feel the joy of creat- 
ing a wonderful and never-to-be-forgotten picture through 
which God may pour His truth into the hearts of all who 
see it. They are, therefore, not merely actors in a play, 
far more than this, for in living out the Bible, they are 
giving themselves to the Lord to be Messengers. Nor will 
they ever know what life He is healing, who He is com- 
forting and strengthening, or what memory pictures are being 
stored up, deep in some heart, like Joseph’s grain in Egypt, 
for future years of famine, while they are living out these 
wonderful Bible stories. 


THE WOOING OF REBEKAH 


CHARACTERS 


ABRAHAM 

ABRAHAM’S SERVANT 

REBEKAH 

Laxsan, the brother of Resrxan 
Beruvue., the Father of Rupexau 
Resexan’s Motruer 

MAIDENS at THE WELL 

Two or THREE SERVANTS 

Isaac, the son of Aprauam 


THE WOOING OF REBEKAH 


Scene I. Apranam’s TENT 

Scene II. By a Wettor WaTER 

Scene lII. A Room in tHe Howse or BETHUEL 
Scene IV. Tue Same ss Scene IIT 

Scenes V. A Puacein THE FIELD at EVENTIDE 


The background for all these scenes may be the same, screens or 
draperies of some soft color, or the carved woodwork of the chancel 
itself. It is better, but not necessary, to have a curtain. If given 
out-doors no background is necessary. The well can be placed far 
enough at one side not to interfere with the other scenes. 


A large stone jar and a box covered by an oriental shawl for a 
seat or an oriental rug or two will help to give the atmosphere for 
the interiors. The table is merely a long board covered with a linen 
table cloth. It is carried in by the servants and placed upon the 
ground. Cushions may be used for the men to recline on during the 
feast. Pewter plates and bowls are very effective on the table, they 
can be seen in the picture opposite page 34. The servants should 
fill the goblets from oriental jars. A large brass bowl is used in 
bathing the guests’ feet. 


A description of how to make the well is given in the introduction 
under “A Few General Suggestions about Properties.” 


MUSIC 


Joy theme . . . Melody in F, by Rubinstein (Victrola). 
Love theme .. . Traumerie (Reverie), by Schumann (Victrola 
or organ). 
25 


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RPL EDIE BR 
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THE WOOING OF REBEKAH 


SCENE I. ABRAHAM’S TENT 


AxsraHam is lying upon a carpet. His servant ts stand- 
ing at his feet. 


Reaper: And Abraham was old and well stricken in age, and 
the Lord blessed Abraham in all things. And Abraham 
spoke unto his eldest servant of his house, that ruled 
over all that he had. ) 


Apranam: Put, I pray thee thy hand under my thigh, and 
I will make thee swear by the Lord, the God of heaven, 
and the God of earth, that thou shalt not take a wife 
unto my son of the daughters of the Canaanites, among 
whom I dwell. But thou shalt go unto my country, and 
to my kindred, and take a wife unto my son Isaac. 


Servant: Peradventure the woman will not be willing to fol- 
low me unto this land, must I needs bring thy son again 
unto the land whence thou camest? 


Apranam: Beware thou that thou bring not my son thither 
again. The Lord God of heaven, who took me from my 
father’s house, and from the land of my kindred, and who 
spoke unto me and swore unto me, saying, Unto thy seed 
will I give this land. He shall send his angel before thee, 
and thou shalt take a wife unto my son from thence. 
And if the woman will not be willing to follow thee, then 
thou shalt be clear from this my oath, only bring not my 
son thither again. 


Servant: I put my hand under the thigh of Abraham, my 
master, and swear that I will faithfully perform all that 
he hath commanded me. 

27 


28 THE WOOING OF REBEKAH SCENE II 


AprauAm: Take thou ten camels of the camels of my herd, 
and depart [Lifting his hand in blessing as the servant 
stands with bowed head], and may the Lord God of heaven 
be with thee. 


The Melody in F is played between these scenes. 


SCENE II. BY A WELL OF WATER 
Several Maidens enter*to draw water at the well. 


Reaper: And Abraham’s servant arose and went to Meso- 
potamia, unto the city of Nahor. And he made his 
camels to kneel down without the city by a well of water 
at the time of evening, even the time that women go out 
to draw water. 


Servant [Entering and lifting his arms and eyes to heaven. 
The Maidens draw back at sight of the stranger|: O 
Lord God of my master Abraham, I pray thee send me 
good speed this day, and show kindness unto my master 
Abraham. Behold, I stand here by the well of water, and 
the daughters of the men of the city come out to draw 
water, and let it come to pass that the damsel to whom 
I shall say, Let down thy pitcher, I pray thee, that I 
may drink, and she shall say, Drink, and I will give thy 
camels drink also; let her be the one whom thou hast 
appointed for thy servant Isaac, and thereby shall I 
know that thou hast showed kindness unto my master. 


Soft music, Melody in F, to the opening of Scene ITI, 


Reaper: And it came to pass before he had ceased speaking 
that behold, Rebekah came out [|Resexan enters], who 
was born to Bethuel, son of Milcah, the wife of Nahor, 
Abraham’s brother, with her pitcher on her shoulder. 
And the damsel was very fair to look upon. And she went 


SCENE II THE WOOING OF REBEKAH 29 


down to the well, and filled her pitcher and came up. 
And the servant ran to meet her. 


Servant: Let me, I pray thee, drink a little water from thy 
pitcher. 


Resexan: Drink, my lord. I will draw water for thy camels 
until they have done drinking. 


ReEBEKAH quickly lowers her pitcher from her head, fills 
it at the well, and passes out to give water to the camels, 
as the servant opens a sack and takes out the gifts. 


Reaper: And she hasted and emptied her pitcher into the 
trough, and ran again unto the well to draw water, and 
drew for all his camels. And the man wondering at her 
held his peace, to wit whether the Lord had made his 
journey prosperous or not. And it came to pass as the 
camels had done drinking, that the man took a golden 
earring of half a shekel weight, and the two bracelets for 
her hands of ten shekels weight of gold. 


Servant: Whose daughter art thou? Tell me I pray thee. 


Resexau: I am the daughter of Bethuel, the son of Milcah, 
which she bore unto Nahor. 


Servant: Is there room in thy father’s house for us to 
lodge in? 


Resexau: We have both straw and provender enough and 
room to lodge in. 


Servant [Lifting one arm above his head in prayer|: Blessed 
be the Lord God of my master Abraham, who hath not 
left destitute my master of his mercy and his truth. I 
being in the way, the Lord led me to the house of my 
master’s brethren. 


Resexau: I will run and tell them of my mother’s house these 
things. 


30 THE WOOING OF REBEKAH SCENE II 


ReBekAu hastily departs. Tur Servant stands gazing 
after her. 


Reaper: And Rebekah had a brother and his name was Laban. 


Lasan enters with RespeKxanu at left. They pause and 
speak to each other. 


ReszekaH: Thus spoke the man unto me. Yonder he stands 
by the well. 

Lazpan: Did the man give thee these bracelets? 

ResBexau: Yea, and the earrings also. 

Reaper: And Laban ran unto the man unto the well. 


Lasan: Come in thou blessed of the Lord. [Embracing him 
and kissing him on both cheeks while Resexau stands 
apart| Wherefore standest thou without? For I have 
prepared the house and room for the camels. 


Lasan and Tue Servant pass out followed by ReBEKan. 


CuRTAIN. 


SCENE III. A ROOM IN THE HOUSE OF BETHUEL 


Two servants carry in along board covered with a white 
cloth and place it on the floor near the front. 


Lasan and Isaac’s Servant enter. Brtuurt enters from 
the other side. 


Lasan: Lo, here cometh Bethuel, my brother, the father of 
Rebekah. 


Betuvet [Lifting a hand above his head in salutation]: The 
Lord be with thee! 


‘Servant [ Returning the salutation|: The Lord be with thee! 


Beruvet [To a servant|: Bring water. 


Yeyxogoy qOOW OF UCI JUBALIOS S Wey eBiqy puy 








SCENE III THE WOOING OF REBEKAH 31 


A servant brings a basin of water and a towel; as he 
bathes the guest’s feet Resexan and her Moruer place 
bowls of fruit and platters upon the table. 


Lazsan [To a servant|: Ungird the camels yonder and give 
them straw and provender. 


BrtuveEt [Going to the door and calling|: Make haste. Bring 
meat and set it before our guest, that we may dine with 
him. 

Servant: I will not eat until I have told my errand. 

LaBan: Speak on. 


SERVANT: I am Abraham’s servant. The Lord hath blessed 
my master greatly, and he is become great. And He hath 
given him flocks, and herds, and silver, and gold, and 
menservants, and maidservants, and camels, and asses. 
And Sarah, my master’s wife, bore a son to my master 
when she was old, and unto him hath he given all he hath. 

And my master made me swear, saying, Thou shalt not 
take a wife to my son of the daughters of the Canaanites, 
in whose land I dwell. But thou shalt go unto my father’s 
house, and to my kindred, and take a wife unto my son. 
And I said unto my master, Peradventure, the woman will 
not follow me. And he said unto me, The Lord, before 
whom I walk, will send his angel before thee, and prosper 
thy way, and thou shalt take a wife for my son of my 
kindred, and of my father’s house. 

And I came this way unto the well, and said, O Lord 
God of my master Abraham, if now thou do prosper my 
way which I go, Behold, I stand by the well of water, 
and it shall come to pass, that when the virgin cometh 
forth to draw water, and I say to her, Give me, I pray 
thee, a little water of thy pitcher to drink, and she say 
to me, Both drink thou, and I will also draw for thy 
camels, let the same be the woman whom the Lord hath 
appointed out for my master’s son. 


32 


THE WOOING OF REBEKAH SCENE II 


And before I had done speaking in mine heart, behold 
Rebekah came forth with her pitcher on her shoulder, 
and she went down unto the well, and drew water, and I 
said unto her, Let me drink, I pray thee. And she made 
haste and let down her pitcher from her shoulder, and 
said, Drink, and I will give thy camels drink also. And 
I bowed down my head and worshipped the Lord, and 
blessed the Lord God of my master Abraham, who had led 
me in the right way to take my master’s brother’s 
daughter unto his son. 

And now, if ye will deal kindly and truly with my 
master, tell me, and if not, tell me, that I may turn to 
the right hand or to the left. 


BetHvEL: The thing proceedeth from the Lord. 


Lasan: We cannot speak unto thee bad or good. 


Soft music, Melody in F, to the end of the scene. 


Betuvuet [Taking Resexan by the hand and leadimg her to 


the Srervant|: Behold, Rebekah is before thee, take her 
and go, and let her be thy master’s son’s wife, as the 
Lord hath spoken. 


Servant [Bowing to the earth]: Now may the God of my 


master Abraham be praised. [Rising] Behold, I have 
jewels of silver and jewels of gold for the maiden, and 
raiment. 


He beckons to another servant at the door. A chest ts 
carried in. He opens it and presents the gifts. 


ReBEKAH: I thank thee. 


ReBeEKAH’s Motuer [Examining the gifts|: Lo, the gifts are 


very precious, which Abraham the father of Isaac hath 
sent thee! 


SCENE IV THE WOOING OF REBEKAH 33 


Betruvewt: Gold and silver! 
Lapan: And silks and linen from the east! 


They all examme the gifts. 
Lapan: Come, let us eat, for the hour is well spent. 


The men seat themselves upon the floor back of the table, 
as the servants pour out wine and begin to serve them. 


CuRTAIN, 


The music changes after a moment’s pause between these 
scenes to Traumeret which is played softly throughout 
Scene IV. 


SCENE IV. (The same as Scene IIT) 


The table has been removed. 


Reaper: And Abraham’s servant tarried all night and he rose 
up in the morning. 


Laspan and Bretuuet enter on the right. ReseKan’s 
mother also, bearing on her shoulder a water jug, which 
she places upon the ground. THE Servant enters on 
the left. 


Servant: The Lord be with you. 
He bows to Lasan and BETHUEL. 
Largan AND BetTHuEL: The Lord be with thee. 
SERVANT: Send me away unto my master. 
Resexau’s Mortuer [Starting forward|: Ah! my daughter! 
Lazan: Let the damsel abide with us a few days longer. 


Regexan’s Moruer [Holding out her hands in supplication]: 
At the least ten,—after that she shall go. 


34 THE WOOING OF REBEKAH SCENE IV 


SERVANT: Hinder me not, seeing that the Lord hath prospered 
my way. Send me away that I may go to my master. 


Bretuvet: We will call the damsel and inquire of her mouth. 
ReBEexKan’s brother goes out and returns with ReBEeKanH. 


BretuvuE.: Rebekah, my daughter, wilt thou go with this man? 

ReEBEKAH: I will go. 

Moruer [Turning aside|: Ah, my daughter. 

BrETHUEL: So be it. [To Moruer] Call her nurse, and bid 
her make ready for the journey. 


Moruer goes out quickly. 


Lasan [Taking her hand]: Thou art our sister. Be thou 
the mother of thousands of millions and let thy seed 
possess the gate of those who hate them. 


BetHueEt [Laying his hand wpon her head]: The God of our 
fathers bless thee, my daughter, and be gracious unto 
thee. 


Moruer [Entering with Respexan’s nurse]: Come, my daugh- 
ter, and make ready for the journey. 


The women depart. 


Reaper: And they sent away Rebekah, their sister, and her 
nurse, and Abraham’s servant, and his men. And Re- 
bekah arose, and her damsels, and they rode upon the 
camels and followed the man, and the servant took 
Rebekah, and went his way. 


CuRTAIN. 


The music ceases as the curtain parts for Scene V. 


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SCENE V. A PLACE IN THE FIELD AT EVENTIDE 


As the curtam parts Isaac enters and seats himself upon 
a rock. 


Reaver: And Isaac came from the way of the well Lahai-roi, 
for he dwelt in the south country. And Isaac went out 
to meditate in the field at eventide. 


Soft Music, Trawmeret, as Isaac meditates, continuing to 
the end of the scene. 

After a pause the Reaver contmues and Isaac suddenly 
looks wp, rises, shielding his eyes as he gazes toward the 
left. 


Reaper: And he lifted up his eyes and saw, and behold, the 
camels were coming. And Rebekah lifted up her eyes, 
and when she saw Isaac, she lighted off the camel. 


Isaac takes a step forward, then pauses gazing in wonder 
at REBEKAH. 
Resexau: What man is that, who walketh in the field? 
Servant: It is my master. 
Resexau [T'o nurse who enters|: Give me my veil that I may 


cover myself, 


The nurse covers her head with a veil. Isaac comes 
toward the group. The others step back, leaving 
REBEKAH waiting alone. 


Isaac [Slowly approaching her in wonder and joy|: Art thou 
Rebekah? the daughter of Bethuel, the sister of Laban, 
my father’s brother? 


ReBexaH [Bowing her head|: Yea, my Lord. 


36 THE WOOING OF REBEKAH SCENE V 
Isaac [Placing his hand on her head]: Now may the Lord of 


heaven bless thee and me, and be gracious unto us. Come, 
I will bring thee to my mother Sarah’s tent. 


Taking her hand he leads her slowly out. 


Reaper: And Isaac took Rebekah and she became his wife 
and he loved her. And Isaac was comforted after his 
mother’s death. 


CuRTAIN, 


JACOB’S JOURNEY 


CHARACTERS 


Isaac 

Jacos, Isaac’s son 

Two ANGELS 

Tue Voice or THe Lorp 
RacHEL 

Lagan, the Father of RacuEn 
Leau, the sister of RacHEL 
Two SHEPHERDS 

A Servant or Isaac 


JACOB’S JOURNEY 


Scene [. A Fretp 
Scene II. Beruert, tHe Puace or a DreAM 
Scene III. A Wet 1n a Frietp 


A soft curtain may form the background for these scenes. Rocks, 
which are not too heavy, must be selected for the stones in the field, 
so that Jacob will be able to set them up one upon the other to 
form a rough altar. His horn of oil can be made out of cardboard 
painted, and hung by a thong or cord across one shoulder, the horn 
reaching the level of his hip. Of course a real goat’s horn is much 
better if one can be secured. 

The shepherds should carry staffs or crooks, and they may have 
skins hung over their shoulders. 

Rachel should carry an oriental jar upon her shoulder. 


MUSIC 


Angel Dream music... Morning, by Grieg, Peer Gynt Suite, Part I 
(Victrola). 


Love theme . . . Traumerei (Reverie) by Schumann (Victrola 
or organ). 


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JACOB’S JOURNEY 
SCENE I. A FIELD 


Tsaac enters followed by a servant who spreads a mat for 
him. He lies down upon it and calls to Jacoz who ap- 
proaches and stands before his father as he speaks. 


Reaper: And Isaac called Jacob, and blessed him, and charged 


him, and said unto him: 


Isaac: Come hither, Jacob, my son. Thou shalt not take a 
wife of the daughters of Canaan. Arise, go to Padan- 
aram, to the house of Bethuel thy mother’s father; and 
take thee a wife from thence of the daughters of Laban, 
thy mother’s brother. [Lifting his arm in blessing, Jacoz 
kneels as he lays it upon his head.| And God Almighty 
bless thee, and make thee fruitful, and multiply thee, that 
thou mayest be a multitude of people; and give thee the 
blessing of Abraham, to thee and to thy seed with thee; 
that thou mayest inherit the land wherein thou art a 
stranger, which God gave unto Abraham. 


Reaver: And Isaac sent away Jacob: and he went to Padan- 
aram unto Laban, son of Bethuel the Syrian, the brother 
of Rebekah, Jacob’s and Esau’s mother. 


Jaco rises and departs after lifting both arms in fare- 


well. Then Isaac slowly rises, assisted by his servant, 
and goes out in the opposite direction. 


Al 


42 


JACOB’S JOURNEY SCENE II 


JACOB’S DREAM 


SCENE II, A FIELD 


There are several large stones in the foreground. 
During the reading Jacozn enters and placing two stones 
for a pillow, lies down with his head wpon his arm and 
sleeps. 


Reaper: And Jacob went out from Beer-Sheba, and went 


toward Haran. And he lighted upon a certain place, and 
tarried there all night, because the sun was set; and he 
took of the stones of that place, and put them for his 
pillow, and lay down in that place to sleep. 


Soft music, Morning, Peer Gynt. 


And he dreamed, and behold, a ladder set up on the 
earth, and the top of it reached to heaven (T'wo angels 
slowly enter from either side and stand at his head and 
feet): and behold, the angels of God ascending and de- 
scending on it. And behold, the Lord stood above it, 
and said: 


Voice: I am the Lord God of Abraham thy father, and the 


God of Isaac: the land whereon thou liest, to thee will I 
give it, and to thy seed; and thy seed shall be as the dust 
of the earth; and thou shalt spread abroad to the west, 
and to the east, and to the north, and to the south: and in 
thee and in thy seed shall all the families of the earth be 
blessed. And behold, I am with thee, and will keep thee 
in all places whither thou goest, and will bring thee again 
into this land; for I will not leave thee, until I have done 
that which I have spoken to thee of. (The angels depart.) 


Reaper: And Jacob awaked out of his sleep, and he said, 


JacoB opens his eyes and sitting up gazes about him. 


SCENE II JACOB’S JOURNEY 43 


Jacos: Surely the Lord is in this place; and I knew it not. 
[Slowly rising he looks around him and up to heaven in 
awe—then speaks | How dreadful is this place! This is 
none other but the house of God, and this is the gate of 
heaven. 


Reaper: And Jacob rose up early in the morning, and took 
the stone that he had put for his pillow, and set it up for 
a pillar, and poured oil upon the top of it. 


As this is read, Jacob piles the stones one upon the other 
forming an altar and pours oil from his horn upon the 
top of it. 


The music ceases. 


Jacos: I will call the name of this place Beth-el; The House 
of God. 


Reaper: And Jacob vowed a vow, saying: 


Soft chords are played on the organ till the end of the 
Scene, 


Jacozs [Lifting both hands to heaven as he vows the vow |: 
If God will be with me, and will keep me in this way that 
I go, and will give me bread to eat, and raiment to put on, 
so that I come again to my father’s house in peace; then 
shall the Lord be my God. And this stone, which I have 
set for a pillar, shall be God’s house: and of all that thou 
shalt give me I will surely give the tenth unto thee, 


He prostrates himself three times on the ground, and 
departs, 


Reaper: Then Jacob went on his journey. 


CurTAIN. 


44 JACOB’S JOURNEY SCENE Il 


SCENE III. A FIELD WITH A WELL 


Jacob enters on the right. Three shepherds are stand- 
ing back of the well on the left. 


Reaper: And Jacob came into the land of the people of the 
east. And he looked, and behold a well in the field; for out 
of that well they watered the flocks: and a great stone 
was upon the well’s mouth. And thither were all the flocks 
gathered: and they rolled the stone from the well’s mouth, 
watered the sheep, when they and thou were shepherds in 
the field. 


Jacos: My brethren, whence be ye? 
SHEPHERDS: Of Haran are we. 

Jacos: Know ye Laban the son of Nahor? 
SHEPHERDS: We know him. 

Jacos: Is he well? 


SHEPHERDS: He is well. 


A Surepuerp [Pointing to the left]: And behold, Rachel his 
daughter cometh with the sheep. 


Jacoz: Lo, it is yet high day, neither is it time that the cattle 
should be gathered together: water ye the sheep and go 
and feed them. 


SHEPHERDS: We cannot, until all the flocks be gathered to- 
gether, and till they roll the stone from the well’s mouth; 
then we water the sheep. 7 


Soft music, Traumeret. 


Reaper: And while he yet spake with them, Rachel came with 
her father’s sheep: for she kept them. 


The shepherds draw back as Racwet enters. 


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SCENE II JACOB’S JOURNEY AS 


And it came to pass, when Jacob saw Rachel the daugh- 
ter of Laban his mother’s brother, that Jacob went near, 
and said: 


Jacos [Softly in wonder and awe]: Who art thou? 

Racuet: I am Rachel, the daughter of Laban. 

Jacoz [Lifting his arms in thanks to heaven|: Now may the 
Lord God of our Father be praised! [Turning again to 
RacueEt| I am Jacob, thy father’s brother, and the son of 
Rebekah. 


Racuet: I will run and tell my father! [Rachel hurries out.] 
The music ceases. 


Reaver: And it came to pass, when Laban heard the tidings 
of Jacob his sister’s son, that he ran to meet him, and 
embraced him, and kissed him. 


Laban hurries in and embraces Jacon, kissing him wpon 
both cheeks. 


And he told Laban all these things. 


Lasan: Surely thou art my bone and my flesh. Abide with 
me the space of a month. Because thou art my brother, 
shouldest thou therefore serve me for nought? ‘Tell me, 
what shall thy wages be? 


Reaper: And Laban had two daughters. 


Lean and Racuet follow at a distance and stand beside 
the well. 


The name of the elder was Leah, and the name of the 
younger was Rachel. Leah was tender-eyed; but Rachel 
was beautiful and well-favored. And Jacob loved Rachel; 
and said: 


Soft music, Traumerei, to the end of the scene. 


46 JACOB’S JOURNEY SCENE III 


Jacos: I will serve thee seven years for Rachel thy younger 
daughter. 

Lazan: It is better that I give her to thee than that I should 
give her to another man: abide with me. [He places 
Racuer’s hand in the hand of Jacos and lifts an arm 
above their heads in blessing. | 


Reaper: And Jacob served seven years for Rachel; and they 
seemed unto him but a few days, for the love he had to her. 


Jacos passes out with RacHEL, followed by Lapan and 
LEAH. 


CuRTAIN. 


THE STORY OF JOSEPH 


CHARACTERS 


Part 1 
JACOB 


Josrepu, a lad 

JOsEPH’s eleven Brothers 
REUBEN 
SIMEON 
Levi 
JUDAH 
IssacHAR 
ZEBULUN 


Dan 
NaputTati 
Gap 
ASHER 
BENJAMIN 
A Man or SHEcHEM 
A Company or IsHmAELITES (three or more) 


Part 2 


JOSEPH, @ prisoner in Egypt 
Tue KEEPER oF THE PRISON 
PHaraon’s Cuier ButTuer 
Puaraon’s Curer BAKER 

A MeEsseNGER oF PHaraon 
Two SLaves 

Two SERVANTS oF PHaRAoH 


Part 3 
Josepn, the Ruler of Egypt 
Josrpn’s ten Brothers (BeNsaMIn is not with them) 
Josepn’s Servants (two or three) 
JACOB 


THE STORY OF JOSEPH 


Part 4 
JACOB 
Josrepu’s eleven Brothers 
JOSEPH’s STEWARD 
Josrepy’s Servants (three or four) 


Part 5 


JACOB 

Dinan, Jacosp’s DauGuTEeR 
Two Hesrew Yourus 
JosEpu’s eleven Brothers 
THE Voice or THE LorD 
JOSEPH 

PHARAOH 

A SERVANT OF PHARAOH 
Two S.Laves or PHARAOH 


49 


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PART 1. JOSEPH THE LAD IN CANAAN 


Scene I[. Jacos’s TENT IN THE VALE oF HEBRON 
The Boy Joseph tells his dreams 


ScENE II. Jacos’s Tent In THE VaLE or HEBRON 
Jacob sends Joseph to Shechem 


Scene III. A Fietp in Suecuem 
Joseph seeks his Brethren 


Scene IV. Besine a Wet 1n Dotuam 
Joseph is sold into Egypt 


PART 2. JOSEPH A PRISONER IN EGYPT 


Scene JI. A Prison in Eoypt 
Joseph a Prisoner 


Scene II. A Prison 1n Eeypr 
Joseph interprets two dreams 


Scenz III. PuHaraon’s AupIeENcE CHAMBER 
Joseph interprets Pharaoh’s dreams 


PART 3. JOSEPH THE RULER OF EGYPT 


Scene J. A Haruin Josern’s PALace 
Joseph’s Brethren come down into Egypt to buy 
grain 
Scene II. A Hartzuin Joszepn’s PAnace 
The Brethren return to the Land of Canaan 


ScenE III. Jacos’s Tent in tue VAte or HEBRON 


Jacob mourns the loss of Simeon 
51 


52 THE STORY OF JOSEPH 


PART 4. JOSEPH MAKES HIMSELF KNOWN TO HIS 
BRETHREN 


Scene I. Jacos’s TENT 
Jacob sends the brethren again to Egypt to buy 
grain 
Scene II. A Harti in Josepn’s Parace 
Joseph makes a feast for his brethren 
Scene III. A Haru in Josepn’s Parace 
Joseph makes himself known to his brethren 


PART 5. THE MEETING OF JACOB AND JOSEPH 


Scene JI. Jacos’s Tent 
The brethren return with news that Joseph yet 
lives 
Scene II. By an Attar 1n Brer-SuHespa 
Jacob’s vision 
ScenE III. A Puace in Gosuen 
Joseph comes to meet his Father 


Scene IV. Puaraon’s AuDIENCE CHAMBER 
Joseph brings Jacob to Pharaoh 


A full description of the well is found in the introduction under 
“Practical Suggestions for Properties.” 

For the scenes in Jacob’s tent, a Bagdad couch cover or some 
Persian shawls hung for a background are all that is necessary to 
suggest the interior of the tent. 

Screens hung with black or gray draperies stretched tightly to 
represent stone walls can be used for the prison scene. 

Pharaoh’s Hall can be represented with a background of richly 
colored draperies, a carved chair elevated upon a table covered 
with oriental rugs for a throne, a large brass brazier with live 
coals upon which incense is sprinkled, and two tall brass candle- 
sticks on either side and a little in front of the throne. Red or 
yellow or oriental curtains are hung over the entrances. 


THE STORY OF JOSEPH 53 


Joseph’s Palace is less gorgeous than that of the Pharaoh. There 
should not be any long waits for the changing of scenery, the 
changing of one or two of the draperies or merely the changing 
of Pharaoh’s throne for a dais (a chair or couch covered with an 
oriental drapery) placed upon a lower platform will be enough. 
There is a gong near the dais. Tall candlesticks, oriental rugs, 
a brass brazier will help to give the right atmosphere. 

In the banquet scene, Joseph will remain seated upon the dais 
while the servants place a small table before him, covered with a 
cloth of red or gold. A long table is placed just below Joseph’s 
platform where the brothers are seated. Pewter cups and brass 
or pewter bowls and plates are very effective, and the servants 
should bear water jars and oriental vases upon their shoulders 
or heads, with which they fill the cups. Large brass platters 
of fruit and bread, or grain heaped upon a platter, can be placed 
upon the table. 

Joseph’s golden cup can be made by gilding a tall glass goblet. 

Consult pictures of Egyptian kings for Pharaoh’s costume and 
headdress and his servants’ costumes. The slaves wear brown jer- 
kins with red girdles. 


MUSIC 


Part 1 


The Boy Joseph Theme . .. Morning, by Grieg, Peer Gynt 
Suite, No. 1, Part 1 (Victrola). 

The Betrayal of Joseph Theme . . . The Passion Music, Selec- 
tion III (in the back of the book). 

The Plotting of the Brethren Theme . .. The Passion Music, 
Selection II (in the back of the book). 

Jacob’s Grief Theme . .. Ave Maria, by Schubert (Victrola) 
violin. 


Part 2 


Joseph’s Grief Theme . . . Ave Maria, by Schubert (Victrola) 
violin. 


5A THE STORY OF JOSEPH 


Interpretation of Dream Music . . . Chanson’d Inde (Song of 


India) (Victrola). 
Pharaoh’s Court Music . . . Hymno al Sol (first half) (Victrola, 


Victor Orchestra). 


Part 3 


Joseph and Benjamin Love Theme . . . Ave Maria, by Schubert 


(Victrola) violin. 
Jacob’s Grief Theme . . “ Ave Maria (Victrola) violin. 


Part 4 


The Grief of the Brethren Theme . .. The Swan, by Saint- 
Saéns (Victrola). 

Joseph’s Joy Theme . . . On the Wings of Song, by Mendels- 
sohn (Victrola) violin. 

Joseph and Benjamin Love Theme . . . Ave Maria, by Schubert 
(Victrola) violin. 

Joseph Feast Music . . . Anitra’s Dance, by Grieg, Peer Gynt 
Suite, Part I (Victrola). 


Part 5 


Jacob’s Joy Theme . . . On the Wings of Song, by Mendelssohn 
(Victrola) violin (second half of the record, beginning with the 
soft high notes just before the climax in the middle). 

Israel’s Dream Music . . . Ave Maria, by Schubert (Victrola) 
violin. 

Pharaoh’s Court Music . . . Hymno al Sol (first half) (Victrola, 
Victor Orchestra). 


The following compositions are given on both sides of one Victrola 
record, thus saving the expense of purchasing two. The music that 
is not used in the Story of Joseph is used in other of the Bible 


plays. 


THE STORY OF JOSEPH 


Ave Maria 

On the Wings of Song 
The Swan 

Rubinstein’s Melody in F 


Morning 
The Death of Ase 


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JOSEPH 
Part I 
SCENE I. JACOB’S TENT IN THE VALE OF HEBRON 


Reaper: And Jacob dwelt in the land wherein his father was 
a stranger, in the land of Canaan. Joseph, being seven- 
teen years old, was feeding the flock of his brethren. Now, 
Israel loved Joseph more than all his children, because he 
was the son of his old age, and he made him a coat of 
many colors. And when his brethren saw that their 
father loved him more than all his brethren, they hated 
him and could not speak peaceably unto him. 

And Joseph dreamed a dream, and he told it to his 
brethren, and they hated him yet the more. 


Soft music, Morning, till the curtain parts for Scene IT. 


Jacos is seated at the side, while the boy, JosEru, 1s 
standing in the midst of his brothers. 


JosEepu [Eagerly]: Hear I pray you this dream which Ihave 
dreamed. For, behold, we were binding sheaves in the 
field, and lo, my sheaf arose, and also stood upright, and, 
behold, your sheaves stood round about, and made 
obeisance to my sheaf. 


Issacuar: Shalt thou indeed reign over us? or shalt thou in- 
deed have dominion over us? 


The brothers murmur and cast angry looks upon JosEPH. 


JosepH: Behold, I dreamed another dream, and in this the 
sun and the moon and the eleven stars made obeisance to 
me. 

57 


58 THE STORY OF JOSEPH SCENE II 


Jacoz: What is this dream that thou hast dreamed? Shall 
I and thy mother and thy brethren indeed come to bow 
down ourselves to thee to the earth? [The brothers show 
their displeasure by angry gesticulations. | 


Nay, my sons, envy him not, but observe the saying. 

Levi: Come, we must go to Shechem to feed our father’s flock. 
The brothers depart, bowing low to their father, but pass 
JosepH by with evident coldness as he stands beside 


Jacon’s couch. JupaH and RevusBeNn, however, kiss 
JosEePH in oriental fashion on both cheeks. 


SCENE II. JACOB’S TENT (Same as Scene I) 


Jacos is seated upon a couch. Joseru enters bearing a 
basket of fruit and lays it at his father’s feet. 


JoserH: Behold, I bring thee grapes and pomegranates, and 
my brother Benjamin cometh also with corn for the 
grinding. [Going to the door of the tent.| Benjamin, 
where art thou? [J'o Jacon| We were together in the 
field from the rising of the sun. 


Jacos: May the God of our fathers, the God of Abraham and 


Isaac, watch over thee and thy brother Benjamin! 


JosepH: Here cometh Benjamin! 


Bensamin enters with a basket of corn and places it at 
his father’s feet. 


JosEPH: I lost thee, Benjamin, in the field. 


Bensamin: I but tarried to take back a lamb that had wan- 
dered from the flock. 


Jacoz [T7'o Josrpu]: Do not thy brethren feed the flock in 
Shechem? Come, and I will send thee unto them. 


SCENE III THE STORY OF JOSEPH 59 
JoserpH: Here am I. 


Jacos: Go, I pray thee, see whether it be well with thy breth- 
ren, and well with the flocks, and bring me word again, 


JosepH: Wilt thou not send Benjamin with me? 


Jacozp: Nay, the lad is too young and the journey is too 
great for him. 


Bensamin: Father, I would fain go with Joseph. [Running 
over to JosePH and taking him by the hand] I will not 
tire from the length of the way. 


Jacos: Nay, nay, my son, thou must tarry here with me by 
the vale of Hebron. Joseph will speedily return to thee 
and to me. [T'o Josrepu] Go, make haste my son, and 
when thou hast seen thy brethren, return quickly and 
bring me word of them. 


JosePH bows his head, lifting one hand in obeisance to his 
father. Brnsamin follows him to the door of the tent. 


Josepy [Embracing Bensamin]: The God of our fathers keep 
thee, Benjamin, until I return to thee. 


JOSEPH departs. 
Reaver: So he sent him out of the vale of Hebron. 
CuRTAIN. 


Selection IIT from the Passion Music is played to the end 
of the scene. 


SCENE III. A FIELD IN SHECHEM (in front of the 


curtain) 


JosEPH enters on the right walking slowly and stopping 
frequently to look far into the distance. 


60 THE STORY OF JOSEPH SCENE IV 


Reaper: And Joseph came to Shechem and a certain man 
found him and behold he was wandering in the field. [4 
man enters on the left. 


Man: What seekest thou? 


JosEpH: I seek my brethren. Tell me, I pray thee, where they 
feed their flocks. 


Man: They are departed hence, for I heard them say, Let us 
go to Dothan. 


JosEPH: I will go there and find them. 
They pass each other and depart. 


The Music changes to Selection II of the Passion Music. 


SCENE IV. BESIDE A WELL IN DOTHAN 


Some of the brethren are seated or lying upon the ground, 
others are movmg about. 


Dan [Suddenly pointing toward the left]: Look! Yonder! 
Revsen: A youth! His face turned toward Dotham! 


Reaper: And when they saw him afar aff even before he came 
near unto them, they conspired against him to slay him. 


IssacuHar [with a sneer|: Behold, it is this dreamer that com- 
eth. Come now, therefore, and let us slay him, and cast 
him into some pit, and we will say some evil beast hath 
devoured him, and we will see what will become of his 
dreams. 


Revsen: Let us not kill him [Looking into the well]. Shed 
no blood, but cast him into this pit that is in the wilder- 
ness, and lay no hand upon him. 


SCENE IV THE STORY OF JOSEPH 61 
The music ceases. 


Revsen [Drawing Jupau aside]: That we may rid him out of 
the hands of our brethren and deliver him to our father 
again. 

JupaH: The pit! peradventure there be water therein, the lad 
will be drowned! 

Reusen: Nay, the pitis empty. There is no water therein. 


Selection III from the Passion Music. 


JosEPH [Entering|: The Lord be with you, my brethren. 

IssacHar [Laying hold of JosrErpH|: Ha! we will strip thee of 
thy coat, thy long-sleeved coat of many colors that our 
father gave to thee. 


The brothers seize and strip him of his coat, 


NaputTati: What availeth it thee, now? 

IssacHar: Bind him! 

JosePH [In astonishment]: Nay, my brothers. Why do ye 
this way? 

NapuTaut: Cast him in! 

JosEPH [In terror]: Reuben! 

ReEvBEN [ Aside to Josreru]: Peace, all shall be well. 

Issacoar: What sayest thou, Reuben? 

JupaH [To JosEepH]|: Resist not. No harm shall befall thee. 

IssacHar: What sayest thou, Judah? 

JupaH: Naught! 

Naputaur: Nay, but thou didst say something! 

JupDAH: I but tightened his bands. 

Dan: Ha! Now dost thou have dominion over us? 

Issacuar [Bowing low in mock homage|: Thus, do we make 
obeisance to thee, thou dreamer, thou favorite of our 
father! 

NapuTaLi: How art thou, dreamer? 


The other brothers pass him bowing m like manner. 
JuDAH and REUBEN stand apart. 


62 THE STORY OF JOSEPH SCENE IV 


Issacuar [Laying hold of Josspu]: Come! the pit! 
Joseru: Issachar! My brothers! Help! Help! 


The others seize him and cast him iw. 
The music ceases. 


IssacHar: Ha! We are rid of him. 
AsHER: Come, let us eat ere we depart. 


They seat themselves cross-legged on the ground. ASHER 
opens a sack and distributes bread to the others beside the 
well. [Jupan and Revsen draw apart talking earnestly. 
Revsen, at length, departs in haste. Jupau gazes after 
hum. | 

Dan: Come, Judah, art thou sorrowing for thy brother Joseph? 


IssacnHar: Wilt try to save him? 
JupauH: Tis too late. 


Jupau seats himself silently and eats. 
ZEBULON: Behold, a company of Ishmaelites! 
The brothers rise and gaze out toward the left. 


Asner: With camels. Their faces are turned toward Egypt. 
Enter two Ishmaelites. 


ZeBuLoN: Whence are ye? Whither go ye? 

First Isumaruire: We are merchantmen, just come from 
Gilead. 

Srconp Isumaruire: Bearing spicery and balm and myrrh to 
Egypt. 

Jupau [Aside to brothers]: What profit is it if we slay our 
brother and conceal his blood? Come, let us sell him to 
the Ishmaelites. 

Issacuar: It were better to let him die in yonder pit. 

Jupan: Let not our hands be upon him, for he is our brother 
and our flesh. 


SCENE IV THE STORY OF JOSEPH 63 


Simeon: Well said. [T'o Ishmaelites| How much will ye give 
us for a slave that we would sell? 

First IsomMarwite: Ten pieces of silver. 

Simeon: Nay, but we will not sell him for that. 

IssacHeR [T'o himself |: It were better to kill him. 

SEeconpD IsyMaEtite: How old is he? 

SimEoN: He is a lad of seventeen years, strong and well- 
favored. 

First Isomar ite: I will give thee fifteen pieces of silver for 
him, 

Smmrton: Nay, but he is worth more. 

SEeconD IsHMaELITE: Where is he? 

Naputati: Yonder in the pit. 

Seconp Isumar ite: Let us see this slave. 

Dan: Come, brethren, draw out the slave. 

[They reach into the pit and draw him out. | 

JosEPH: Oh, my brethren, I knew that ye did but jest—I—— 

Issacoar: Ha! Ha! 

First Isomarrire: Aye, he is well-favored. [Feeling of his 
arm| We will give you twenty pieces of silver for this 
boy, but no more. 

JosEPH: What meanest thou? 

Srmeon: Well, it is not enough, but 
brothers. | 

AsHER: It is a good price. 

Simeon [To Isumarrires|: We will sell him to you for twenty 
pieces of silver. 


Selection III of the Passion Music. 


JosEPH [In terror}: My brethren, what mean ye? I am 
Joseph, thy brother, whom our father Jacob sent to 
Shechem to see whether it were well with you. You will 
not sell me as a slave! 

First Isomaruite: Ye sell your brother! 

Naputaui: Peace! Swear thou wilt take him to Egypt. 

JosepH: Nay! Nay! not to Egypt. 


[He consults with his 





64 THE STORY OF JOSEPH SCENE IV 


Issacuar: Silence, thou dreamer! [TJ'o IsHmaztires] Will ye 
swear? 

First Isumaruite [J'o Seconp IsHMaAELiTE]: It is strange, 
but the lad will bring a goodly price. [T'o Issacnar] Yea, 
we swear. / 


The IsHMAELITES count out twenty pieces of silver into 
Issacuar’s outstretched hand. 


IssacHar: Take him. 

JosEPH [Gazing in horror at his brothers, then turning to 
Jupau]: Judah! thou wilt not let them do this thing! 
Jupau [Lifting his hands helplessly, then aside to Joserx]: 

It were better than death. 
JosEPH: Reuben! Where is Reuben? 
Naputaui: Thy brother Reuben hath left thee. 
JosEPH: Alas! 
Levi: Reuben could not help thee. 
Dan [To Isumaruites|: Make haste, we cannot tarry. 


They lay hold of Josrrx to lead him away. 


JosrepH: Tarry, I pray thee, ere I bid Judah farewell. My 
brother, comfort my father and Benjamin—my brother, 
Benjamin! 


Jupau, speechless with grief, embraces JosEPH. 


Issacuar: We perceive that thou lovest Joseph! See, Judah 
boweth down to him! Mayhap thou canst go with Joseph 
into Egypt! Come, we cannot wait longer. 

JosePH: Farewell, my brethren! 


The IsHMAELITES lead JoSEPH out. 


The music ceases. 


Issacuar: Let us dip his coat in the blood of a goat, that we 
may bring it to our father and say, This have we found. 
Know now whether it be thy son’s or not? 


SCENE IV THE STORY OF JOSEPH 65 


Naputaut [Laughing]: Aye, and he will say, It is my son’s 
coat. An evil beast hath devoured him. Joseph is, with- 
out doubt, rent in pieces. 


The brothers depart laughing and nodding their heads. 
Jupau is the last to leave with head bowed in grief. 


Soft music, Ave Maria, to the end. 
RevsBen enters swiftly. He hastens to the pit. 


Revusen: Joseph! I am come, Joseph, to save thee. [He looks 
into the pit, then glances about in alarm.| Joseph! my 
brother Joseph! where art thou? The child is not! The 
child is not! [Rending his clothes.| I, whither shall I go? 
[He departs in despair. | 

Reaper: And Jacob rent his clothes and put sackcloth upon 

his loins and mourned for his son many days. 
And all his sons and all his daughters rose up to comfort 
him; but he refused to be comforted; and he said, For I 
will go down into the grave unto my son mourning. Thus 
his father wept for him. 


The music ceases. 


CuRTAIN. 


Parr II 


SCENE I. A PRISON IN EGYPT 


Reaver: And Joseph was brought down to Egypt, and Poti- 
phar, an officer of Pharaoh, captain of the guard, an 
Egyptian, bought him of the hands of the Ishmaelites, who 
had brought him down thither. And the Lord was with 
Joseph, and he was a prosperous man, and he was in 
the house of his master the Egyptian. And his master 
saw that the Lord was with him, and the Lord made all 
that he did to prosper in his hand. And Joseph found 
grace in his sight, and he served him, and he made him 
overseer over his house, and all that he had he put into 
his hand. And it came to pass that from the time that 
he made him overseer in his house, and over all that he 
had, that the Lord blessed the Egyptian’s house for 
Joseph’s sake, and the blessing of the Lord was upon all 
that he had in the house and in the field. And he left 
all that he had in Joseph’s hand, and he knew not aught 
he had, save the bread which he did eat. And Joseph 
was a goodly person and well favored. And it came to 
pass after these things that his master’s wife cast her 
eyes upon Joseph, but Joseph harkened not to her. And 
she being wroth spoke unto her Lord according to these 
words, saying, The Hebrew servant, which thou hast 
brought unto us, came in unto me to mock me. And it 
came to pass when his master heard these words of his 
wife, that his wrath was kindled against Joseph. 


Soft music, Ave Maria, to the end of the scene. 


Reaver: And he took him and put him into the prison, a place 
where the king’s prisoners were bound. And he was there 
66 


SCENE Il THE STORY OF JOSEPH 67 


in the prison. But the Lord was with Joseph, and showed 
him mercy, and gave him favor in the sight of the keeper 
of the prison. 


The curtain parts, and the Krrrrr of the prison enters. 


Keeper: Joseph, come forth! [Josrru enters from a door on 
the right.| Behold, I have committed to thy hand all the 
prisoners that were in the prison. I shall look not to any- 
thing that is under thy hand because the Lord is with thee, 
and that which thou dost, the Lord maketh it prosper. 


JosrpuH: What thou requirest of me, I will faithfully perform. 


Kerrrer: It hath come to pass that the butler of the king of 
Egypt and his baker have offended their Lord, the king 
of Egypt, and Pharaoh is wroth against these his two 
officers. And he hath put them in ward within this prison. 
Behold, now I charge thee with them. Here are the keys 
to their dungeon. 


Josrpu takes the keys. The keeper departs as JosEPH 
stands gazing at them in thought. 


Josrpu: The Lord is my rock and my strength in time of 
trouble. 


CurRTAIN, 


The music changes to the Song of India. 


SCENE II. A PRISON IN EGYPT (Same as Scene I) 


Reaper: And they dreamed a dream both of them, each man 
his dream in one night, the butler and the baker of the 
King of Egypt which were bound in the prison. 


Joseru enters and unlocks two low doors at the back of 
the prison. 


68 THE STORY OF JOSEPH SCENE II 


JOSEPH: Come forth! 


The butler and baker appear with sad countenances at 
the entrance of their cells. 


JosEpH: Wherefore look ye so sadly to-day? 


Butter: We have dreamed a dream and there is no interpreter 
of it. 


JosEPH: Do not interpretations belong to God? ‘Tell me 
them, I pray you. 


Butter: In my dream, behold, a vine was before me, and in 
the vine were three branches. And it was as though 
it budded and her blossoms shot forth, and the clusters 
thereof brought forth ripe grapes. And Pharaoh’s cup 
was in my hand, and I took the grapes and pressed them 
into Pharaoh’s cup, and I gave the cup into Pharaoh’s 
hand, 


JosePpH: This is the interpretation of it. The three branches 
are three days. Yet within three days shall Pharaoh 
lift up thine head and restore thee into thy place, and 
thou shalt deliver Pharaoh’s cup into his hand after the 
former manner when thou wast his butler. 


Butter: May the Lord God of the Hebrews be praised if this 
be true! 


JosepH: But think on me when it shall be well with thee, and 
show kindness, I pray thee, unto me, and make mention 
of me unto Pharaoh and bring me out of this house. For, 
indeed, I was stolen out of the land of the Hebrews, and 
here also have I done nothing that they should put me 
into the dungeon. 


Baxer: I also had a dream, and, behold, I had three white 
baskets on my head, and in the uppermost basket there 
were all manner of bakemeats for Pharaoh, and the birds 
did eat them out of the basket upon my head. 


SCENE II THE STORY OF JOSEPH 69 


JosepH: This is the interpretation thereof. The three baskets 
are three days. Yet within three days shall Pharaoh lift 
up thy head from off thee and shall hang thee on a tree, 
and the birds shall eat thy flesh from off thee. 


Baker [Rending his clothes]: Woe is me! Woe! 


Krerer [Entering]: Pharaoh’s messenger is without. 
A MESSENGER enters. 


Messencer [Proclaiming in a loud voice]: It is Pharaoh’s 
birthday. He hath made a feast unto all his servants, 
and he hath lifted up the head of the chief butler, and 
he hath restored the chief butler to his office, that he may 
give the cup into Pharaoh’s hand. But he will hang the 
chief baker. 


Baxer [Falling at Joseru’s feet]: It is as thou hast inter- 
preted. 
[ The Messencer leads the BuTirr out. | 
CURTAIN. 


The music changes to Hymno al Sol (first half) to the end 
of the scene. 


SCENE III. PHARAOH’S AUDIENCE CHAMBER 


As the curtain parts, PHaraow ts seated upon a throne 
with two slaves fanning him. The Cuter ButTLer stands 
at a distance, two other servants are trimming a lamp of 
burning incense in a brazter. 


Puaraou: My spirit is troubled. Send for the magicians and 
all the wise men of Egypt, for I have had a dream and I 
would know the meaning thereof. 


A servant hastily departs. Enter three wise men of Egypt 
who bow low to PHARAOH. 


10 THE STORY OF JOSEPH SCENE II 


Puaraou: I dreamed, and, behold, there came up out of a 
river seven well favored kine and they fed in a meadow. 
And behold, seven other kine came up after them, ill look- 
ing and lean. And the ill looking and lean kine did eat 
up the seven well favored kine. And I dreamed the second 
time, and behold, seven ears of corn came up upon one 
stalk, rank and good. And behold, seven thin ears sprung 
up after them. And the seven thin ears devoured the 
seven rank and full ears. Oh, seers and wise men, interpret 
now unto me this dream. 


They talk among themselves excitedly, then answer, in 
unison, bowing to PHaraonH. 


SeErs: Oh, Pharaoh, King of Egypt, we know not the interpre- 
tation of thy dreams. 


Cuter Burier [Stepping forward and bowing to the earth]: 
Oh, Pharaoh, King of Egypt, I do remember my faults 
this day. Pharaoh was wroth with his servants, and put 
me in ward in the captain of the guard’s house, both me 
and the chief baker, and we dreamed a dream in one 
night, I and he. And there was there with us a young 
man, a Hebrew, servant to the captain of the guard, and 
we told him and he interpreted to us our dreams, to each 
man according to his dream he did interpret. And it 
came to pass as he did interpret to us so it was, me he 
restored to mine office, and him he hanged. 


Puaraon [To a servant]: Send and call this Hebrew, give him 
a change of raiment and bring him out of the dungeon. 


The curtain is lowered to denote time. 
Soft music, Hymno al Sol. 


The servant returns bringing with him Joseru who stands 
silently before Puaraou. 


SCENE Il THE STORY OF JOSEPH qa 


Puaraou: I have dreamed a dream and there is none that can 
interpret it, and I have heard say of thee that thou canst 
understand a dream to interpret it. 


JosepH: It is not in me. God shall give Pharaoh an answer 
of peace. 


Pxuaraou: In my dream, behold, I stood upon the bank of the 

river, and lo, there came up out of the river seven kine, 
fat and well favored, and they fed in a meadow. And, 
behold, seven other kine came up after them, poor and 
very ill favored and lean and such as I never saw in all 
the land of Egypt. And the lean and ill favored kine 
did eat up the first seven fat kine. And when they had 
eaten them up, it could not be known that they had eaten 
them, but they were still ill favored as at the beginning. 
So I awoke. 
And I saw in my dream, and, behold, seven ears of corn 
came up in one stalk full and good, and, behold, seven 
ears withered, thin and blasted with the east wind, sprung 
up after them. And the thin ears devoured the seven good 
ears, and I told this unto the magicians, but there was 
none that could declare it unto me. 


The music changes to Chanson d’Inde. 


Josrpu: The dream of Pharaoh is one. God hath showed 
Pharaoh what he is about to do. The seven good kine 
are seven years, and the seven good ears are seven years, 
the dream is one. And the seven thin and ill looking kine 
that came up after them are seven years, and the seven 
empty ears blasted with the east wind shall be seven years 
of famine. 

What God is about to do he showeth unto Pharaoh. Be- 
hold, there are about to come seven years of great plenty 
throughout all the land of Egypt. And there shall arise 
after them seven years of famine, and all the plenty shall 
be forgotten in the land of Egypt, and the famine shall 


(2 THE STORY OF JOSEPH SCENE II 


consume the land, for it shall be very grievous. And 
for that the dream was doubled unto Pharaoh; it is 
because the thing is established by God, and God will 
shortly bring it to pass. 

Now, therefore, let Pharaoh look out a man discreet and 
wise, and set him over the land of Egypt. Let Pharaoh 
do this and let him appoint officers over the land, and 
take up the fifth part of the land of Egypt in the seven 
plenteous years. And ‘let them gather all the food of 
those good years that come, and lay up corn under the 
hand of Pharaoh, and let them keep food in the cities, 
and that food shall be for store to the land against the 
seven years of famine which shall be in the land of Egypt, 
that the land perish not through famine. 


The music ceases. 


There is a long pause as JosrrH stands silently while 
PHARAOH gazes at him in wonder. As PHAraon begms 
to speak, Hymno al Sol ts again heard to the end. 


Puaraon: Can we find such a man as this, a man in whom is 
the spirit of God? Forasmuch as God has showed thee 
all this, there is none so discreet and wise as thou. Thou 
shalt be over my house, and according to thy word shall 
all my people be ruled; only in the throne will I be greater 
than thou. See, I have set thee over all the land of 
Egypt. [Holding out his hand to his Cuter Butuer | 
Take the ring and put it on Joseph’s hand, and array 
him in vestures of fine linen, and put a gold chain about 
his neck, and he shall ride in the second chariot. [Servants 
hurry in bearing a silk robe and the chain. They clothe 
him as the Butter places the ring wpon his finger. | 


Cuier Butier [Proclaimimg in a loud voice|: Bow the knee 
before this Joseph whom Pharaoh hath exalted! 


SCENE III THE STORY OF JOSEPH "3 


Puaraon: I am Pharaoh and without thee shall no man lift up 
his hand or foot in all the land of Egypt. 


JosEPH bows to PHaraon, the Butter bows low, and 
stepping forward and bowing again to Josrru, escorts 
him out. 


Reaper: And Joseph was thirty years old when he stood be- 
fore Pharaoh, King of Egypt, and Joseph went out from 
the presence of Pharaoh throughout all the land of Egypt. 


CuRTAIN. 


Part IIT 


SCENE I. A HALL IN JOSEPH’S PALACE 


Reaper: And Joseph was thirty years old when he stood be- 
fore Pharaoh, King of Egypt. And Joseph went out 
from the presence of Pharaoh throughout all the land of 
Egypt. And in the seven plenteous years the land 
brought forth by handfuls. And Joseph gathered up all 
the food of the seven years, which were in the land of 
Egypt, and laid up the food in the cities, the food of 
the field which was round about every city, laid he up 
in the same. And Joseph gathered corn as the sand of 
the sea, very much, until he left numbering, for it was 
without number. 

And the seven years of plenteousness that was in the 
land of Egypt were ended. And the seven years of dearth 
began to come, according as Joseph had said, and the 
dearth was in all lands, but in all the land of Egypt 
there was bread. And when all the land of Egypt was 
famished, the people cried to Pharaoh for bread, and 
Pharaoh said unto all the Egyptians, Go to Joseph, 
what he saith to you, do. And the famine was over all 
the face of the earth, and Joseph opened all the store- 
houses and sold unto the Egyptians, and the famine 
waxed sore in the land of Egypt. And all countries came 
into Egypt to Joseph for to buy corn, because the famine 
was so sore in all lands. 

Now when Jacob saw that there was corn in Egypt, he 
said unto his sons, Why do ye look one upon another? 
And he said, Behold, I have heard that there is corn 

74 


SCENE I THE STORY OF JOSEPH 75 


in Egypt. Get you down thither and buy for us from 
thence, that we may live and not die. 


Soft music, Ave Maria. 


And Joseph’s ten brethren went down to buy corn in 
Egypt, but Benjamin, Joseph’s brother, Jacob sent not 
with his brethren, for he said, Lest, peradventure, mis- 
chief befall him. And the sons of Israel came to buy 
corn among those that came, for the famine was in the 
land of Canaan. 


The curtain parts. JosEpH is seated upon a dais, 
servants are standing at the back as his ten brothers 
enter and bow low before him. 


Reaper: And Joseph was the governor over the land, and 
he it was that sold to all the people of the land, and 
Joseph’s brethren came and bowed down themselves be- 
fore him with their faces to the earth. And Joseph saw 
his brethren and he knew them, but made himself strange 
unto them, and spake roughly unte them. 


JOSEPH gazes at them in silence as the soft music ts heard. 
At last he speaks. 


The music ceases. 


JosePH: Whence come ye? 
IssacnHar: From the land of Canaan to buy food. 


JosEpH: Ye are spies. T'o see the nakedness of the land ye 
are come. 


Issacuar: Nay, my lord, but to buy food are thy servants 
come. We are all one man’s sons. We are true men; thy 
servants are no spies, 


JosepH: Nay, but to see the nakedness of the land are ye 
come. 


716 THE STORY OF JOSEPH SCENE II 


Jupau: Thy servants are twelve brethren, the sons of one 
man in the land of Canaan, and, behold, the youngest is 
this day with our father, and one is not. 


JosrpH: That is it that I spake unto you, saying, Ye are 
spies. Hereby ye shall be proved. By the life of Pharaoh 
ye shall not go forth hence, except your youngest brother 
come hither. Send one of you and let him fetch your 
brother, and ye shall be kept in prison, that your words 
may be proved whether there be any truth in you, or else 
by the life of Pharaoh ye are spies. [T'’o Servant] Put 
these men into prison and let them remain therein for 
three days. 


The Servants lead out the brothers, filled with fear, as 
JOSEPH gazes after them. 
CuRTAIN. 


Soft music, Ave Maria, until the curtain parts for 
Scene II. 


SCENE II. AHALLIN JOSEPH’S PALACE (Same as Scene I) 


JosEpu enters the hall and strikes a bell. A servant hur- 
ries in and bows low. 


JosePH [T'o servant|: Are not the three days past wherein 
I commanded that the ten brothers from Canaan were 
to be held in prison? 


Servant: To-day is the third day, my lord. 


JosePH: Bring them unto me. [The servant departs. | 
Soft music, Ave Maria, till the curtain parts for Scene III. 


JOSEPH paces to and fro until the brothers enter, bowmg 
and trembling. He gazes at them in silence as they stand 
before him, then speaks in a voice deep with emotion. 


SCENE II THE STORY OF JOSEPH V7 


Josrru: This do, and live, for I fear God. If ye be true men, 
let one of your brethren be bound in the house of your 
prison. Go ye, carry corn for the famine of your houses, 
but bring your youngest brother unto me, so shall your 
words be verified, and ye shall not die. 


Dan [Turning to the other brothers while Josern turns aside 
and weeps|: We are verily guilty concerning our brother, 
in that we saw the anguish of his soul when he besought 
us and we would not hear, therefore is this distress come 
upon us. 


Reuben: Spoke I not unto you saying, Do not sin against the 
child? And ye would not hear? Therefore, behold, also 
his blood is required. 


Reaper: And he turned himself about from them and wept 
and returned to them again, and communed with them. 


JosepH brushes the tears from his eyes and turning to 
the brothers points to Stmxon. 


Joserx [To servant |: Take this man and bind him. 


Jupau [Throwing himself on his knees before Joseru]: My 
lord, wilt thou take one of our brothers from us? 


Revsen [Also falling on his knees|: May we find favor in my 
lord’s sight, for our father is an old man, and one of 
us already is dead. If Simeon should not return unto 
him, it would bring down his gray hairs to the grave. 

Josspu [T'enderly|: No harm shall come to him, if only ye 
make haste and bring your younger brother to me. 


The brothers depart slowly and sorrowfully. 


Josepu [T'o servant |: Make haste. Fill their sacks with corn 
and restore every man’s money into his sack, and give them 
provision for the way. Thus doest thou unto them. [T'o 
another servant] Take this Simeon to the house of the 


18 THE STORY OF JOSEPH SCENE III 


guard and tell the keeper that Joseph commands him to 
deal gently with the man. 


As the servant leads him out, Josrru takes a few steps 
toward him with outstretched hands—then checks himself 
and stands gazing after him. 


CurRTAIN. 


SCENE III. JACOB'S TENT 


Jacos is reclining on a pallet. He suddenly puts has 
hand to his ear and listens. 


Jacoz: I hear the tramp of asses’ feet. [Going to his tent 
door] Lo! My sons are back again! 


Jupaun enters, followed by the others. 


Jacos [Embracing each in turn]: Judah, my son, and Reuben, 
Levi and Dan. How fared it with you? Do you bring 
grain from Egypt? But Simeon! Where is my son 
Simeon? 


Jupau: The man who is the lord of the land spoke roughly 

to us and took us for spies of the country. And we 
said unto him, We are true men; we are no spies. We 
are twelve brothers, sons of our father; one is not and 
the youngest is this day with our father in the land of 
Canaan. 
And the man, the lord of the country, said unto us, 
Hereby shall I know that ye are true men. Leave one 
of your brothers here with me and take food for the 
famine of your households and be gone, and bring your 
youngest brother unto me, then shall I know that you 
are no spies, but that ye are true men, so will I deliver 
you your brother and ye shall traffick in the land, and 
Simeon hath he taken until we return with Benjamin. 


SCENE II THE STORY OF JOSEPH 79 
Soft music, Ave Maria. 


Jacos [Rending his clothes]: Me have ye bereaved of my 
children. Joseph is not and Simeon is not, and ye will 
take Benjamin away. All these things are against me. 


Revuzsen [Laying his hand on his father’s arm]: Peace, my 
Father! Slay my two sons if I bring him not to thee. 
Deliver him into my hand and I will bring him to thee 
again. 

Jacozs: My son shall not go down with you, for his brother 
is dead, and he is left alone. If mischief befall him by 
the way in which ye go, then shall ye bring down my gray 
hairs with sorrow to the grave. 


The music ceases. 


Issacuar: Come, let us empty our sacks. 
Levi [Opening his sack]: Behold! My money is restored! 


Gap: It is even in my sack! [He draws a small bag out of 
the sack. | 


Napuraur: Mine also is here! 
Asurr: Every man’s silver is restored unto him! 
NapuTaui: I fear!! 


Dan: What is this that God hath done unto us? 


They all stand speechless with amazement, 


CuRTAIN. 


Part IV 
SCENE I. JACOB’S TENT IN THE VALE OF HEBRON 
Jacon is seated, his sons standing grouped arownd him. 


Jacos: My sons, the famine is sore in the land, and we have 
eaten up the corn that ye brought out of Egypt. Go 
again, buy us a little food. 


Soft music, The Swan, until the curtain parts for 
Scene II. 


Jupan: The man did solemnly protest unto us, saying, Ye 
shall not see my face except your brother be with you. 


Jacon: Wherefore dealt ye so ill with me as to tell the man 
whether ye had yet a brother? 


Dan: The man asked us straitly of our state, and of our 
kindred, saying, Is your father yet alive? Have ye an- 
other brother? And we told him according to the tenor 
of his words. Could we certainly know that he would say, 
Bring your brother down? 


Jupan: Send the lad with me and we will arise and go, that 
we may live and not die, both we and thou, and also our 
little ones. I will be surety for him. Of my hand shalt 
thou require him. If I bring him not unto thee and 
set him before thee, then let me bear the blame forever, 
for except that we had lingered, surely now we had re- 
turned this second time. 


Jacon: If it must be so now, do this. Take of the best 
fruits of the land in your vessels, and carry down the 
80 


SCENE II THE STORY OF JOSEPH 81 


man a present, a little balm, and a little honey, spices 
and myrrh, nuts and almonds. And take double money 
in your hand, and the money that was brought again in 
the mouth of your sacks, carry it again in your hand 
peradventure it was an oversight. [Jacos embraces 
Brensamin, then lays his (Brnsamtn’s) hand in the hand 
of Jupau] Take also your brother and arise, go unto 
the man. And God Almighty give you mercy before the 
man that he may send away your other brother and 
Benjamin. If I be bereaved of my children, I am be- 
reaved, 


The brothers depart, each bowing to their father, as he 
stands with hand upraised in blessing. 
CuRTAIN. 


SCENE II. A HALL IN JOSEPH’S PALACE 
JosEPH is seated upon his dais. 


Reaper: And the men took the present, and they took double 
money in their hand, and Benjamin, and rose up and went 
down to Egypt, and stood before Joseph. 


Servant [Entering hurriedly]: My lord, the brothers from 
the land of Canaan who came to buy corn of thee are 
again without. 


JosrpuH [Starting wp]: How many men are there? 


SERVANT: All that were here save the one whom thou hast 


kept. 
Josrpn: Is not a younger one among them? 


SERVANT: I know not, my lord. 


Soft music, On the Wings of Song. 


82 THE STORY OF JOSEPH SCENE II 


Joseru: Go out and ask if the youngest brother is with them. 
[The servant departs. | 


A pause. Joseru paces to and fro until his return. 


Servant: The youngest brother is with the others. 


Josrru: Bring these men home. [7'o Srewarp] Slay and make 
ready, for they shall dine with me at noon. 


Srewarp: With thee, my lord? 


JosEPH: Yea, verily, make haste. 
JosePH leaves the hall. 


The music ceases. 


Servant [7'o another servant by the door as he departs|: Our 
lord looketh with favor upon the Canaanites! He hath 
commanded them to dine with him this day here in the 
palace! 

Reaper: And the man did as Joseph bade; and brought the 
brethren into Joseph’s house. And they were afraid be- 
cause they were brought into Joseph’s house, and they 
came near to the Steward and communed with him at the 
door of the house. 


The brothers enter slowly with signs of awe and fear. The 
Srewarp meets them. 


Srewarp: Ye have found favor with my lord, and, behold, 
he hath commanded that ye shall dine with him this day. 
IssacHar: I fear to come into my lord’s house. 


Dan: What meaneth this, that we should sit at the table of 
the ruler of Egypt? 


Naputati: Nay, brethren, because of the money that was re- 
turned in our sacks are we brought in, that he may 
seek occasion to fall upon us, and take us for bondmen. 


SCENE II THE STORY OF JOSEPH 83 


Gap: O, sir, we came down, indeed, at the first time to buy 
food, and it came to pass when we came home that we 
opened our sacks, and, behold, every man’s money was in 
the mouth of his sack, our money in full weight, and we 
have brought it again in our hand. 


Dawn: And other money have we brought down in our hands to 
buy food. We cannot tell who put our money in our 
sacks. 


STEWARD: Peace be unto you. Fear not. Your God, and 
the God of your father hath given you treasure in your 
sacks, Make ready against my lord’s coming. [To 
servant | Bring water for their feet. [T'o another servant | 
Give their asses provender. [To brothers| My lord hath 
also commanded that Simeon be released unto you. 


Three servants bring brass basins and bathe the brothers’ 
feet. Simeon enters. 
Jupau [Falling on SimEon’s neck |: Art thou alive and well? 


Simeon: Yea, for I have received mercy and favor at the hands 
of the ruler of Egypt. 


Issacuar: Art thou not his slave? 


Simeon: Nay, my lord hath allowed me to serve him in his 
house all these days. 


Soft music, Ave Maria. 
StewarD: Behold, my lord cometh. [Draws the curtain aside. | 


JosEPpH enters and stands gazing at them im silence for a 
full moment. The brothers bow low. 


Reaper: And when Joseph came home, they brought him the 
present which was in their hand into the house and bowed 
themselves to him to the earth. 


84 THE STORY OF JOSEPH SCENE II 


The brothers kneel and bow in oriental fashion with their 
faces to the earth. 


Jupanu: Let my lord look with favor upon his servants, for 
we have brought my lord gifts from the Land of Canaan. 
[Placing their sacks before Josrpu. | 


Josrpu [Eagerly]: Is your father well, the old man of whom 
ye spoke? Is he yet alive? 


Revpen: Thy servant, our father, is in good health; he is yet 
alive. 


Josrepu [His voice breaking with emotion]: Is this your 
younger brother of whom ye spoke unto me? [Laying 
his hands on his head| God be gracious unto thee, my 
son. 


Josep puts his hand to his eyes and hastily departs 
overcome with emotion. There is a pause as the brothers 
look at one another in wonder. 


Reaper: And Joseph made haste for he did yearn for his 
brother Benjamin, his mother’s son. And he sought where 
to weep, and he entered into his chamber and wept there. 
And he washed his face and went out and refrained him- 
self. 


The music changes to Anitra’s Dance. 


JosepH [Reéntering the hall, seating himself at the head of 
his own table]: Set on bread. The Israelites shall sit 
here [Indicating a long table two steps below his own 
dais]. The firstborn there, according to his birthright, 
and the youngest here, according to his youth. [Brnsa- 
Min’s seat is at the center of the large table close to 
JOSEPH’s table. | 


Sruzon [TJ'o Revsen as he takes his place next him]: Behold, 
our youngest brother hath been given the highest seat! 


SCENE II THE STORY OF JOSEPH 85 


REvuBeEN: Peace! It is well as our lord commandceth. 


Josepu seats himself. The others seat themselves at the 
table below him. The Cutrr Srewarp stands at JosEPu’s 
right hand. Servants, each with a bowl and a goblet, 
enter and stand back of the SrEwarp awaiting orders. 


Josrrn [To the Stewarp]: Place the portions before the 
brethren. 


The Srewarp turns to the servants and gives the order 
witha nod. Joseru hands the Stewarp a large and costly 
bowl from his own table. 


JosrpH: Take this my bowl and fill it for Benjamin, the 
youngest. 


As the Stewarp carries the bowl to Brnsamin, the 
brothers look at each other in astonishment. 


Issacnar: Behold! Benjamin’s portion is five times as much 
as any of ours! 


Jupau: Even so, the thing would be pleasing to our father, 
for Benjamin is the youngest, and thou knowest he loveth 
him next to Joseph who is dead. 


The servants fill the cups from oriental jars, serving 
JosEpH and Brensamin first, others bear in platters of 
fruit and bread. 


JosrepH [Aside to his Srewarp]: Fill the men’s sacks with 
food, as much as they can carry, and put every man’s 
money in his sack’s mouth. And put my cup, this silver 
cup [Handing him the cup] in the sack’s mouth of the 
youngest, and his corn money. [The Stewarp departs 
with the cup. | 


JOSEPH at last rises. The brothers at once rise with him. 


86 THE STORY OF JOSEPH SCENE II 
The music ceases. 


JoserH: Behold, your asses are laden with the grain of Egypt. 
Ye have food for the famine of your households. Get 
you up to the old man, your father. [The brothers bow 
low. | 


Jupan [Stepping forward and bowing with uplifted hand]: 
May the lord of our fathers give his blessing to my lord 
for all that he hath done to his servants, this day. 


Soft music, Ave Maria. 


The brothers depart, each bowing before Josrru. As 
Bensamin bows, Joseru holds out his hands and takes a 
step toward him, then checks himself. : 


JosepH: May the God of thy fathers be gracious unto thee, 
Benjamin. 


Bensamin [Bowing low]: May the God of our fathers bless 
my lord. [He departs.]| 


The muste ceases. 


JosrePpu stands rapt in thought, then suddenly turns to 
his STEWARD. 


JosepH: Up! Follow after the men when they have left the 
city, and when thou dost overtake them, say unto them, 
Wherefore have ye rewarded evil for good? One of you 
hath taken the silver cup from which my lord drinketh, 
and whereby, indeed, he divineth. Ye have done evil in so 
doing. [The Stewarp departs. | 


CurTAIN. 


SCENE III THE STORY OF JOSEPH 87 


SCENE III. THE SAME HALL IN JOSEPH’S PALACE 
(The tables have been removed.) 


The Stewarp enters. He goes to a door at the right and 
speaks. 

Srewarp: My lord, let thy servant speak. 

JosepH [Appearing in the doorway]: Speak on. 


StEwarD: I did as thou didst command. The brethren are 
returned in great fear, and beg to speak with thee. 


JosEPH: Let them enter. 
He ascends his throne. The brothers enter and fall on 
their knees before Joseru. 

JosepH: What deed is this that ye have done? 


Levi: Wherefore saith my lord these words? God forbid that 
thy servants should do according to this thing. 


RveEzsen: Behold, the money which we found in our sacks’ 
mouths, we brought unto thee out of the land of Canaan. 
How then should we steal out of thy lord’s house silver or 
gold? With whomsoever of thy servants it be found, both 
let him die, and we also will be my lord’s bondmen. 


JosEPH: Now also let it be according to your words. He 
with whom it is found shall be my servant, and ye shall be 
blameless. 


The brothers make haste to open their sacks. 


JosepH: Search, beginning at the eldest son unto the youngest. 
Stewarp [Opening the sacks |: Not here, my lord, nor here. 
The brothers look more and more pleased as the cup is 


not found. He reaches BensAmin’s sack and lifts the cup 
out. 


88 THE STORY OF JOSEPH SCENE III 
Here is the cup, oh my lord! 


A cry arises from the brothers. Brnzsamin throws him- 
self on his knees before Joseru. 


Soft music, The Swan. 


JosrepH: What deed is this that ye have done? Did ye not 
know that such a man as I can surely divine? 


JupaH [Rending his clothes|: What shall we say unto my 
lord? What shall we speak, or how shall we clear our- 
selves? God hath found out the iniquity of thy servants. 
Behold, we are my lord’s slaves, both we and he also with 
whom the cup is found. 


JosePH: God forbid that I should do so. But the man in whose 
hand the cup is found, he shall be my servant. As for 
you, get you up in peace unto your father. 


The music ceases. 


Jupanu: Oh my lord, let thy servant, I pray thee, speak a 
word in my lord’s ears, and let not thine anger burn 
against thy servant, for thou art even as Pharaoh. My 
lord asked his servants saying, Have ye a father or 
brothers? And we said unto my lord, We have a father, 
an old man, and a child of his old age, a little one, and 
his brother is dead, and he alone is left of his mother, 
and his father loveth him. And thou saidst unto thy 
servants, Bring him down unto me that I may set mine 
eyes upon him. And we said unto my lord, The lad 
cannot leave his father, for if he should leave his father, 
his father would die. And thou saidst unto thy servants, 
Except your youngest brother come down with you, ye 
shall see my face no more. And it came to pass when 
we came up unto thy servant, my father, we told him 
the words of my lord. And our father said, Go again 


SCENE II THE STORY OF JOSEPH 89 


and buy us a little food. And we said, We cannot go 
down. If our youngest brother be with us, then will we 
go down, for we may not see the man’s face except our 
youngest brother be with us. And thy servant, my father, 
said unto us, Ye know that my wife bare me two sons, 
and the one went out from me, and I said, Surely he is 
torn in pieces and I saw him not since; and if ye take 
this also from me, and mischief befall him, ye shall bring 
down my gray hairs with sorrow to the grave. Now, 
therefore, when I come to thy servant, my father, and 
the lad be not with us, seeing that his life is bound up 
in the lad’s life, it shall come to pass when he seeth that 
the lad is not with us, that he will die, and thy servants 
shall bring down the gray hairs of thy servant, our 
father, with sorrow to the grave. For thy servant be- 
came surety for the lad unto my father, saying, If I 
bring him not unto thee, then I shall bear the blame of 
my father forever. [Falling on his knees before JosEru | 
Now, therefore, I pray thee, let thy servant abide, instead 
of the lad, a bondman to my lord, and let the lad go up 
with his brethren. 


Soft music, Ave Maria. 


JosePH [Suddenly rising and crying with a loud voice |: Cause 
every man to go out from me! 


The servants hastily depart. 


JosEPH [Holding out his hands toward his brothers|: I am 
Joseph!! [He quickly descends the step from his dais.| 
Come near me, I pray you! 


The brothers draw back in awe. 


JosEePH: I am Joseph, your brother, whom ye sold into Egypt. 
Now therefore be not grieved, nor angry with yourselves 


90 THE STORY OF JOSEPH SCENE III 


that ye sold me hither. For these two years hath the 
famine been in the land, and yet there are five years in 
which there shall neither be earing nor harvest. And 
God did send me before you to save your lives by a 
great deliverance. So now, it was not you that sent me 
hither but God, and he hath made me a father to Pharaoh, 
and lord of all his house, and a ruler throughout all the 
land of Egypt. 


The music changes to On the Wings of Song. 


JoserpH: Haste ye and go up to my father, and say unto him, 
Thus saith thy son Joseph, God hath made me lord of 
all Egypt. Come down unto me, tarry not. And thou 
shall dwell in the land of Goshen, and thou shalt be near 
unto me, thou and thy children, and thy children’s chil- 
dren, and thy flocks, and thy herds, and all that thou hast. 
And there will I nourish thee, for yet there are five years 
of famine, lest thou and thy household, and all that thou 
hast, come to poverty. [Again holding out his hands to 
them| And behold, your eyes see, and the eyes of my 
brother Benjamin, that it is my mouth that speaketh unto 
you. 


JosePy falls wpon Benzamin’s neck. 


JosEepH: And ye shall tell my father of all my glory in Egypt, 
and all that ye have seen. And ye shall haste and bring 
down my father hither. 


He embraces Jupvau and then the other brothers as he ts 
speaking. They all gather about him in joy. 


The music ceases. 


Stewarp: My lord, a herald from Pharaoh is without. 


JosEPH: Let him enter. 


SCENE Il THE STORY OF JOSEPH 91 


Hrraip [Bowing to Joseru and then announcing in a loud 
voice|: Joseph’s brethren are come, and the fame thereof 
is heard in Pharaoh’s house, and it pleaseth Pharaoh well, 
and his servants. And Pharaoh saith unto J oseph, Say 
unto thy brethren, This do ye. Lade your beasts, and 
go, get you unto the land of Canaan, and take your 
father and your households and come unto me, and I will 
give you the good of the land of Egypt, and ye shall 
eat the fat of the land. Now thou art commanded, this 
do ye. Take you wagons out of the land of Egypt for 
your little ones, and for your wives, and bring your 
father and come. Also regard not your stuff, for the 
wealth of all the land of Egypt is yours. 


The Herawp bows and departs. 


JosepH: I will give you wagons according to the command- 
ment of Pharaoh, and provision for the way, also to each 
man changes of raiment. But Benjamin shall have three 
hundred pieces of silver, and five changes of raiment. 
And to my father I will send ten asses laden with the 
good things of Egypt, and ten she asses laden with corn 
and bread and meat for my father by the way. Go, 
therefore, my brethren, and make haste. See that ye 
fall not out by the way. 


JoserH embraces BunsaMIn again. The brothers depart. 


CuRTAIN, 


Part V 
SCENE I. JACOB’S TENT 


Jacon is half reclining-upon his couch. Dinan, Jacos’s 
daughter, is waiting upon him. 


Jacos: Bring wine, my daughter, and some cakes. 

DinaH: Yea, my father. [She moves toward the door. | 
Jacos: Stay! Hath aught been heard to-day of thy brethren? 
Dinau: Nay. Nothing yet hath been heard. 


Jacos: The time is long, and my heart faileth me because of 
Benjamin. Benjamin, my son Benjamin, if thou too art 
taken! thou too as well as Joseph. May the Lord of 
my father Abraham and Isaac let me die if both Joseph 
and Benjamin are no more. 


DaucuTer: Peace, my father, Benjamin will return unto thee. 
The time is not yet; the journey out of Egypt is long 
and the asses are heavily ladened. 


A Youth hastily enters. 


Youtu [Breathlessly|: There appeareth a host of camels 
and asses in the south coming from Beer-Sheba! 


A Sreconp Youtu [Running in|: I have even now come from 
the fields toward the south. A company of men 
approacheth! 


Jacos [Rising with the aid of Dinan, and moving feebly to 
the door of the tent|: My eyes are waxed dim, tell me 
if peradventure it be my sons. 

92 


SCENE I THE STORY OF JOSEPH 93 


Yourn [Gazing out into the distance]: We cannot yet tell. 
Dinan [Suddenly with a cry]: Behold, our brethren! 
Youru: Yea, verily it is they! 


Dinan: And Benjamin and Judah are foremost! 


Soft music, On the Wings of Song (the second half of the 
record beginning with the soft high notes just before the 
climax in the middle). 


Jacos: Now may the God of our Fathers be praised! 
Shouting is heard without. 


Juvan [Swiftly entering and clasping Jacon by the hands as 
he kneels before him]: My Father, Joseph is yet alive 
and he is Governor over all the land of Egypt. [Brn- 
JAMIN enters with REUBEN. | 

Jacos [In a trembling voice]: Joseph, my son, alive! [He 
sinks down half fainting upon his couch. | Nay, why do 
you mock me? 

Brnsamin: Nay, Father, we do not mock thee. Joseph in- 
deed liveth and he saith unto us, Ye shall tell my Father 
of all my glory in Egypt, and ye shall haste and bring 
him down hither. 


Jacos: My heart fainteth within me. 


Reusen: For God hath made him lord of all Egypt and he 
hath commanded that we bring thee and our households 
and return, for Joseph yearneth to see thee. 


The other brothers enter as Revsen is speaking. 


Dan: Yea, my Father, it hath pleased Pharaoh well and he 
will give us the wealth of the land of Egypt because we 
are Joseph’s brethren. 


94 THE STORY OF JOSEPH SCENE II 
Levi: And without are the wagons which Joseph hath sent to 
carry thee. 


Jacoz [Lifting his hands to heaven, his voice breaking with 
joy|: It is enough. Joseph, my son, is yet alive. I will 
go and see him before I die. 


CurRTAIN. 


The music changes to Ave Maria. 


SCENE II. BY AN ALTAR IN BEER-SHEBA 


There is a small altar of three large stones at the back. 
Jacos is reclining on his pallet in front of the altar. 


Reaper: And Israel took his journey with all that he had and 
came to Beer-Sheba and offered sacrifices unto the God 
of his father Isaac. And God spake unto Israel in the 
visions of the night and said 





Voice: Jacob! Jacob! 
Jacos [Rising on his arm]: Here am I! 


Voice: The God of thy father saith unto thee, Fear not to 
go down into Egypt, for I will there make of thee a great 
nation. I will go down with thee into Egypt, and I will 
also surely bring thee up again, and Joseph shall surely 
put his hand upon thy eyes. 


The music ceases. 
Jacos [Opening his eyes and raising himself upon his arm]: 
Benjamin, my son, come hither. 


Brenzamin: Yea, father, I am here. 


Jacos: The Lord hath spoken unto me in a vision of the night, 
saying, Fear not to go down into Egypt, for I will make 


SCENE III THE STORY OF JOSEPH 95 


of thee a great nation, and Joseph shall put his hands 
upon thy eyes. Behold, now I will send thy brother Judah 
before me unto Joseph to direct his face unto Goshen ; 
there shall I see my son. 


Bensamin [Lifting a hand above his head]: Be it so even 
as thou dost command. 


Curran, 


SCENE III. A PLACE IN GOSHEN 


Jacos is seated uponarug. Jupau and Bensamin enter. 


Jupau [Lifting one hand in salutation]: God be gracious unto 
thee, my Father! 

Bensamin: The Lord make his face to shine upon thee. [ Bow- 
ing likewise. | 

Jacos [Holding out his arms]: Hast thou seen my son Joseph? 
Hast thou brought me word from him? 


Jupau: Joseph hath made ready his chariot and cometh up 
here to Goshen to meet thee. 


Bensamin: And he hath sent us before his face to bring thee 
word. 


Soft music, On the Wings of Song (the second half begin- 
ning with the soft high notes just before the climax in the 
middle). 


JupaH: Even now he cometh. I hear the wheels of his chariot. 


Bensamin and Juvan help their father to rise. They 
support him as he takes a few steps toward the left hold- 
ing out trembling hands. Suddenly Josepu enters and 
falls upon his father’s neck, then kneels before him. 


JosrpH: My father! my father!! 


96 THE STORY OF JOSEPH SCENE IV 


Jacos [Placing both hands on Joseru’s head and speaking 
in a trembling voice]: Now let me die, because I have 
seen thy face, because thou art yet alive. 


CuRTAIN. 


The music changes to Hymno al Sol to the end of the 
scene. 


SCENE IV. PHARAOH’S AUDIENCE CHAMBER 


Puaraou is seated upon a throne. Two slaves are 
fanning him. A servant enters. 


Servant [Bowing with his face to the earth]: My lord! 
Puaraon: Speak. 

Servant: Joseph, the governor of Egypt is without. 
Puaraou: Bid him enter. [The servant departs. | 


JoserH [Entering and lifting a hand in salutation]: Long 
live Pharaoh!! Lo, my father and my brethren, and their 
flocks, and their herds, and all that they have are come 
out of the land of Canaan. 


Puaraon: It pleaseth me well. Bring them in unto me. 


JosepH departs and returns with five of his brothers, 
JupAH, Benzamin, Revsen, and two others. They bow 
low to PHARAOH. 


JosrepH: Here, O Pharaoh, are five of my brethren. 


PHaraou: What is your occupation? 


Jupau: Thy servants are shepherds, both we and also our 
fathers. 


Revsen: For to sojourn in the land are we come, for thy 
servants have not pasture for their flocks, for the famine 


Berece th THE STORY OF JOSEPH 97 


is sore in the land of Canaan. Now, therefore, we pray 
thee, let thy servants dwell in the land of Goshen. 


Puaraou: In the best of the land, in the land of Goshen shall 
ye dwell. 


Josep: I have yet my father to bring unto thee. 


Puaraon: Bring him speedily. 


JosEPH leaves and reénters leading Jacoz. Slowly Jacor 
approaches the throne and stands leaning upon Josurn, 
and gazing with dim eyes at PHaraon. 


Jacoz: May the God of my father bless thee, O Pharaoh. 
[Lifting a shaking hand he blesses PHARAOH. | 


Puaraow: How old art thou? 


Jacoz: The days of the years of my pilgrimage are a hundred 
and thirty years; few and evil have the days of my life 
been, and have not attained unto the days of the years 
of the life of my fathers in the days of their pilgrimage. 


Puaraon [To Josepu]: Thy father and thy brethren are 
come unto thee. The land of Egypt is before thee. In 
the best of the land make thy father and brethren to dwell, 
in the land of Goshen let them dwell, and if thou knowest 
any men of activity among them, then make them rulers 
over my cattle. 


They all depart, bowing low to Puaraon. 


CuRTAIN. 


Reaper: And Jacob blessed Pharaoh, and went out from be- 
fore Pharaoh. And Joseph placed his father and his 
brethren and gave them a possession in the land of Egypt, 
in the best of the land, in the land of Rameses, as Pharaoh 
had commanded. And Joseph nourished his father and 
his brethren, and all his father’s household with bread 
according to their families. 








PUAN Ge 
Buss 


i a 







MOSES IN THE BULRUSHES 


CHARACTERS 


Tue Moruer or Moses 

A Lirrte Mammen, Mosss’ SIsTER 
Puaraon’s DAuGHTER 

Tue Princess’ MaIpENs (siz or more) 


MOSES IN THE BULRUSHES 


MUSIC 


The scene is by a river bank. Flags, cat-tails, and tall rushes 
can be banked in earth at the back of the scene.. If it is given 
outdoors a few shrubs and bushes among the flags help, unless you 
are fortunate enough to have a real brook in the scene. 

The ark of bulrushes should be a deep egg-shaped basket with 
a top. Instead of a cover an arched frame like a cradle’s can be 
made of raffia. Soft white cheesecloth should fall over one side 
of the basket to suggest the baby within. 

The tall fans which the Maidens carry are made by binding long 
reeds to the end of tall poles. A Maiden walks on each side 
of the Princess, slowly fanning her as she moves along the river’s 
edge. 

Song Without Words (Cradle Song), by Mendelssohn (Victrola 
or organ). 





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MOSES IN THE BULRUSHES 


SCENE. A FIELD WITH FLAGS AND BUSHES IN THE 
BACKGROUND 


Soft music, Cradle Song, to the end. 


Reaper: And there went a man of the house of Levi, and took 
to wife a daughter of Levi. And the woman conceived, 
and bare a son, and when she saw him that he was a goodly 
child, she hid him three months. And when she could not 
longer hide him, she took for him an ark of bulrushes, 
and daubed it with slime and pitch, and put the child 
therein ; and she laid it in the flags by the river’s brink. 


A woman carrymg a basket and followed by a maiden 
enters. 


Moruer: I will put the child here in the flags by the river’s 
brink where the daughter of Pharaoh cometh each day 
with her maidens to wash herself at the river. [She places 
the ark among the bulrushes] My daughter, do thou 
stand afar off to see what shall be done to him. 


The maiden conceals herself afar off, as the mother de- 
parts. 

Puaraon’s daughters followed by her maidens, two bear- 
ing tall fans on either side of her, enters and moves slowly 
along the edge of the flags. 


Reaper: And the daughter of Pharaoh came down to wash 
herself at the river; and her maidens walked along by 
the river’s side: and when she saw the ark among the flags, 
she said: 

103 


104 MOSES IN THE BULRUSHES 


Pxaraon’s Davcuter: What is that yonder—among the flags 
by the river? [T’o a maiden] Go and fetch it. 


The maiden hastens to the ark and bears it to PHaraon’s 
DavucuTer, who lifts the cover, and starts back. 


Reaper: And when she had opened it, she saw the child: and, 
behold, the babe wept. And she had compassion on him, 
and said: 


PHARAOH’s DauGHTER: This is one of the Hebrew’s children! 


The sister hurrtes forward, and bowing low before the 
PRIncEss, speaks, 


Sister: Shall I go and call to thee a nurse of the Hebrew 
women, that she may nurse the child for thee? 

PuHaraon’s DaucuTer: Go. 

Reaper: And the maid went and called the child’s mother. 


The Mother bows with her face to the ground before the 
Princess. 


PuHaraon’s Daveuter: Take this child away, and nurse it for 
me, and I will give thee thy wages. 


Reaper: And the woman took the child, and nursed it. 


The Mother takes the ark from the Princess’ maiden, and 
bowing agam departs. 


Puaraon’s Davcuter [To her maidens|: 1 will call his name 
Moses, because I drew him out of the water. 


The Princess and her maidens pass out. 


Reaper: And the child grew and she brought him unto 
Pharaoh’s daughter, and he became her son. 


CurRTAIN. 


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RUTH 


CHARACTERS 


Naomi 

Rutu 

OrPAH 

Turee WoMEN or BETHLEHEM 

Boaz 

Four or FIVE YouTus, REAPERS IN THE FIELD, AND TWO OR MORE 
MaIpENS 

Six Evpers or BETHLEHEM 

AMMINADAB 


RUTH 


Scene I[. On ture Way From Moas 

Scene IJ. By a Wett in BetuHtEenHEeM 

Scene III. A Fievp near BETHLEHEM 

Scene IV. A Room in a House In BeruLtEHEM 
Scene V. Tue Turesuina Fioor or Boaz 
Scene VI. Ovrtsipwe tue Gates or BETHLEHEM 
Scene VIJ. In toe Home or Rut anp Boaz 


A soft background of blue or brown draperies is suitable for all 
the scenes. A description of how the well is made is found in 
the Introduction under ‘Practical Suggestions for Properties.” 

A large stone or earthenware jar with bowls of the same kind 
stand at one side in the Field with the Reapers. If the play is 
given out-of-doors, a real field of grain is ideal for this scene, 
otherwise it will have to be merely suggested by the motion of 
the Reapers, cutting imaginary grain with their sickles, as Ruth 
follows behind, apparently gathering the grain into her apron. 
Sheaves of grain can be stacked in the background to heighten the 
effect. And these can be spread upon the ground for the scene 
upon the threshing floor. 

The two scenes in the house are very simple. A couch, a small 
table, a water jar, and an oriental lamp hanging at one side will 
give the right atmosphere, with oriental hangings at the door. 

In the scene outside the gate at Bethlehem, screens, covered 
with brown burlap, or with building paper marked with heavy 
crayon to represent stone, as is done with the well, makes an effec- 
tive wall. The Elders will sit upon the ground. There may be a 
well at one side. 


MUSIC 


Naomi’s Grief Theme . . . Hebrew Melody, by Joseph Achron 


(Victrola). 
107 


108 RUTH 
Ruth’s Love Theme . . . At Dawning, by C. W. Cadman (Vic- 


trola) violin. 


The Reapers’ Song . . . The Calm, from The Overture of Wil- 


liam Tell, Part III (Victrola). 
The Mother and Babe Theme . . . Song Without Words (Cradle 


Song), by Mendelssohn (Victrola or organ). 


RUTH 


SCENE I. IN THE FIELD AT MOAB 
Soft music, Hebrew M. elody. 


Reaper: Now it came to pass in the days when the judges 
ruled, that there was a famine in the land. And a certain 
man of Bethlehem-judah went to sojourn in the country 
of Moab, he, and his wife, and his two sons. And the 
name of the man was Elimelech, and the name of his wife 
was Naomi, and the name of his two sons Mahlon and 
Chilion, Ephrathites of Bethlehem-judah. And they came 
into the country of Moab and continued there. And 
Elimelech, Naomi’s husband, died, and she was left and her 
two sons. And they took them wives of the women of 
Moab; the name of the one was Orpah, and the name of 
the other Ruth, and they dwelt there about ten years. 
And Mahlon and Chilion died also both of them, and the 
woman was left of her two sons and her husband. Then 
she arose with her daughters-in-law that she might return 
from the country of Moab, for she had heard in the coun- 
try of Moab how that the Lord had visited his people 
in giving them bread. Wherefore she went forth out of 
the place where she was and her two daughters-in-law 
with her, and they went on the way to return unto the 
land of Judah. And Naomi said unto her two daughters- 
in-law: 


Naomi and her daughters enter. 


Noami: Go, return each to your mother’s house, The Lord 
deal kindly with you as you have dealt with the dead and 
109 


110 RUTH SCENE II 
with me. The Lord grant that you may find rest, each of 
you in the house of her husband. 

Rutu: Surely we will return with thee unto thy people. 


Naomr: Turn again, my daughters, why will you go with me? 
Nay, my daughters, for it grieveth me much for your 
sakes that the hand of the Lord is gone out against me. 


Orpan kisses Naomi upon the forehead and departs, but 
Rutu clings to Noamt. 


Noamt: Behold, thy sister-in-law is gone back unto her people, 
and unto her gods. Return thou after thy sister-in-law. 


Soft Music, Hebrew Melody. 


Ruru: Entreat me not to leave thee, or to return from follow- 
ing after thee, for whither thou goest I will go, and where 
thou lodgest, I will lodge, thy people shall be my people, 
and thy God, my God. Where thou diest, I will die, and 
there will I be buried. The Lord do so to me, and more 
also, if aught but death part thee and me. 


CuRTAIN. 


The music grows louder between the scenes and ceases 
when the curtain parts for Scene II. 


SCENE II. BY A WELL IN BETHLEHEM 


Three women are drawing water as RutuH and Naomi 
enter. 


Naomi: I am very weary with the journey. 


Rut: Behold, a well! Sit here, I pray thee, and rest a while, 
and I will give thee water to drink. 


Naomi sinks down wearily upon a rock, 


SCENE II RUTH 111 
Naomi: So be it, my daughter, for I can go no further. 


Rutu [Going over to the women by the well]: Give me, I pray 
thee, some water from the well for the woman yonder. 
[The women lower their pitchers into the well for water | 
What city is this? 


Woman: It is Bethlehem. 

Ruru: The God of my fathers be praised! 
Seconp Woman: Hast thou gone far? 

Rutu: We have come from the country of Moab. 
Woman: Verily the journey is long. 


Ruru: Yea, for Naomi, I care not for myself, but Naomi, my 
mother, is well nigh spent. 


Tuirp Woman: Here, daughter, is water for thee and thy 
mother, 


Ruru bears the water jar on her shoulder to Naomt, 


First Woman [In wonder]: Naomi! Did not the maiden call 
her Naomi? 


Seconp Woman [Moving toward the strangers |: Art thou 
Naomi? 


Soft music, Hebrew Melody. 


Naomt: Call me not Naomi, meaning sweetness, call me Mara, 
meaning bitterness, for the Almighty hath dealt very bit- 
terly with me. I went out full, and the Lord hath brought 
me home again empty. Why then call ye me Naomi, 
seeing that the Lord hath testified against me, and the 
Almighty hath afflicted me? 


The music ceases. 


Firsr Woman: Fear not, Naomi, behold thy husband’s kins- 
man Boaz yet liveth, 


112 RUTH SCENE III 


Seconp Woman: A mighty man of wealth and it is now the 
beginning of the barley harvest and he is in the fields with 
his young men. 


Ruri: Let me now go to the field and glean ears of corn after 
him in whose sight I shall find grace. 


Naomi: Go, my daughter. 


RutH departs. | 
CURTAIN. 


The Hebrew Melody is played between these scenes until 
the music changes to The Calm, from the William Tell 
Overture, as the curtain parts. 


SCENE III. A FIELD NEAR BETHLEHEM 


Seven youths are reaping in a field and swinging their 
scythes in time with the rhythm of the music, the Calm, 
as they sing and hum the melody. Rutu enters and 
quietly gleans behind the reapers as the music continues 
for two or three minutes. Then the smging of the youths 
ceases but the soft music continues. 


Reaper: And Ruth went and gleaned in the field after the 
reapers, and her hap was to come upon part of the field 
belonging unto Boaz who was of the kindred of Elimelech. 
[Boaz is seen approaching | And Boaz came from Bethle- 
hem and said unto the reapers: 


The music ceases. 


Boaz [Lifting one hand in salutation]: The Lord be with you. 
Yourus [Bowing in unison |: The Lord bless thee. 
Boaz [To the head reaper|: Whose damsel is this? 


Reaver: It is the Moabitish damsel that came back with 
Naomi out of the land of Moab. And she said, I pray 


SCENE III RUTH 113 


you, let me glean and gather after the reapers among the 
sheaves. So she came and continued even from the morn- 
ing until now, that she tarried a little in the house. 


Boaz [To Ruru]: Hearest thou not, my daughter? Go not 
to glean in another field, neither go from hence, but abide 
here fast by my maidens. Let thine eyes be on the fields 
that they do reap, and go thou after them. Have I not 
charged the young men that they shall not molest thee? 
And when thou are athirst, go unto the water jars and 
drink of that which the young men have drawn. 


Soft music, At Dawning, 


Rutu [Bowing with her face to the ground before Boaz]: 
Why have I found grace in thine eyes that thou shouldst 
take knowledge of me, seeing that I am a stranger? 


Boaz [Taking her by the hand and lifting her to her feet |: 
It hath fully been showed me all that thou hast done unto 
thy mother-in-law since the death of thine husband, and 
how thou hast left thy father and thy mother, and the land 
of thy nativity, and art come unto a people which thou 
knewest not before. The Lord recompense thy work and a 
full reward be given thee by the Lord God of Israel under 
whose wings thou art come to trust. 


Ruru: Let me find favor in thy sight, my lord, for that thou 
hast comforted me, and for that thou hast spoken friendly 
unto thy handmaid, though I be not like unto one of thine 
handmaids. 


Boaz: It is mealtime, come thou hither, and eat of the bread 
and dip thy morsel in the wine. 


A girl brings a water jar and a large dish of corn. Ruru 
sits beside the reapers. Boaz hands her some corn and a 
cup of water. 


114 RUTH SCENE IV 
Reaper: And Ruth sat beside the reapers and Boaz reached 
her parched corn and she did eat and was sufficed and left. 


Boaz [Turning to the young man]: Let her glean even among 
the sheaves, and reproach her not. And let fall also some 
of the handfuls on purpose for her, and leave them that 
she may glean them and rebuke her not. [Boaz departs. | 


The music ceases. 


The curtam closes for a moment to denote the passage 
of time. It rises again showing the youths reaping and 
Rutu gleaning among the sheaves. As she gleans, she 
hums with the reapers the melody of The Calm, from the 
William Tell Overture. The reapers swing their scythes 
in time to the music as they sing. 


The music ceases. 


Reaper: So Ruth gleaned in the field until even, and beat out 
that she had gleaned and it was about an ophar of barley, 
and she took it and went into the city. 


Rutx departs—holding the grain in the folds of her robe. 
CURTAIN. 


Soft music, Hebrew Melody, between these scenes, 


SCENE IV. A ROOM IN A HOUSE IN BETHLEHEM 
Naomi ts seated upon a couch. 


Rutu: Behold the barley that I have gleaned. [Holding out 
her apron. | 


Naomi: Where hast thou gleaned to-day and where wrought- 
est thou? Blessed be he that did take knowledge of thee. 


SCENE IV RUTH 115 
Ruru: The man’s name with whom I wrought to-day is Boaz. 


Naomr: Blessed be he of the Lord who hath not left off his 
kindness to the living and to the dead. The man is near 
of kin unto us, one of our next kinsmen. 


Rutu: And at mealtime he said unto me, Come thou hither 
and eat of the bread and dip thy morsel in the wine. And 
it was even so as he desired, for I did sit beside the reapers, 
and Boaz himself handed me the parched corn and I did 
eat until I was satisfied. 


Naomi: Ah, it is well, 


Rutu: And when I had risen up to glean, Boaz commanded 
his young men saying, Let her glean even among the 
sheaves, and let fall some of the handfuls on purpose for 
her and leave them that she may glean them and rebuke 
her not. See, mother, I have gleaned until the even, and 
beat out what I have gleaned, and, behold, it is about an 
ephah of barley. And he said unto me also, Thou shalt 
keep fast by my young men until they have ended all my 
harvest. 


Naomi: It is good, my daughter, that thou go out with his 
maidens, that they meet thee not in any other field. 
[Naomi draws Ruru down beside her on a couch.| My 
daughter, shall I not seck rest for thee that it may be 
well with thee? And now, is not Boaz of our kindred, 
with whose maidens thou wast? Behold, he winnoweth 
barley to-night in the threshing floor. Wash thyself, 
therefore, and anoint thee and put thy raiment upon thee 
and get thee down to the floor, and make not thyself known 
unto the man, until he shall have done eating and drinking. 
And it shall be when he lieth down that thou shalt mark 
the place where he shall lie and thou shalt go in and sit 
down at his feet, and he shall tell thee what thou shalt do. 


Routu: All that thou sayest unto me I will do. 


116 RUTH SCENE V 


Soft music, Hebrew Melody, between these scenes. 


SCENE V. THE THRESHING FLOOR OF BOAZ 


Reaper: And Ruth went down unto the floor and did accord- 
ing to all that her mother-in-law bade her. And when 
Boaz had eaten and drunk, and his heart was merry, he 
went to lie down at the end of the heap of corn, and she 
came softly and sat down at his feet. 


Soft music, At Dawning, to the opening of Scene VI. 


Rutu enters silently and stands concealed in the shadow 
behind a heap of corn. Boaz enters and lies down. Rutu 
slips out from behind the corn and sits down at his feet. 


And it came to pass at midnight, that the man was afraid 
and turned himself, and, behold, a woman sat at his feet. 


Boaz: Who art thou? 


Rurn: I am Ruth, thine handmaid. Spread therefore thy 
skirt over thine handmaid, for thou art a near kinsman. 


Boaz: Blessed be thou of the Lord, my daughter, for thou 
hast showed more kindness now than at the beginning, 
insomuch as thou followest not young men whether poor 
or rich. And now, my daughter, fear not, I will do to 
thee all that thou requirest, for all the city of my people 
doth know that thou art a virtuous woman. And now it 
is true that I am thy near kinsman, howbeit there is a 
kinsman nearer than I. And it shall be in the morning 
that if he will perform unto thee the part of a kinsman, 
well; let him do the kinsman’s part. But, if he will not 
do the part of a kinsman to thee, then will I do the part of 
a kinsman to thee, as the Lord liveth. And go not empty 
handed unto thy mother-in-law. Bring the veil that thou 


SCENE VI RUTH 117 


hast upon thee, and hold it, and I will measure six meas- 
ures of barley, thus 





Rutu kneels and holds her veil, as Boaz pours the grain 
into it. 


Routx [Looking up into Boaz’s face|: May the Lord bless thee 
and recompense thee. 


Boaz [Placing his hand upon Rutu’s head]: My daughter, 
Go in peace. 


SCHNE VI. OUTSIDE THE GATE AT BETHLEHEM 


Six elders are seated or standing in the background. Boaz 
enters, looking about as if in search of someone. 

Boaz: The Lord be with thee. 

Exvpers: The Lord be with thee. 

Boaz: Hath Amminadab passed this way? 


Expers: Nay, we have not seen him. 


Boaz seats himself on the right and watches the passers- 
by. Four more elders of the town enter and join the 


group. 
A man enters and is passing by as Boaz calls. 


Boaz: Ho! Amminadab, turn aside. 

AmMiInaDAB: What wouldst thou have with me? 

Boaz: Tarry here at the gate a little while. 

AmminpaB [Seating himself |: Be it as thou desirest, Boaz. 


Boaz: Come, O elders of Bethlehem, sit ye down here and be 
witnesses to what we now say and do. 


118 RUTH SCENE VI 


Evers: So be it, most excellent Boaz. 


Boaz: Naomi that is come again out of the country of Moab 
selleth a parcel of land which was our brother Elimelech’s, 
and I thought to advertise thee saying, Buy it before the 
inhabitants and before the elders of my people. If thou 
wilt redeem it, redeem it, but if thou wilt not redeem it, 
then tell me, that I may know, for there is none to redeem 
it besides thee, and I am-after thee. 


AMMINADAB: I will redeem it. 


Boaz: What day thou buyest the field of the hand of Naomi, 
thou must buy it also of Ruth the Moabitess, the wife of 
the dead, to raise up the name of the dead upon his in- 
heritance. 


AmminpaB: If this be so, I cannot redeem it for myself, lest 
I mar mine own inheritance. Redeem thou my right to 
thyself, for I cannot redeem it. 


Boaz: I agree. Let the unbinding of thy sandal be a testi- 
mony of our contract. Henceforth I stand in thy sandals. 
[He quickly unbinds Amminapan’s sandal. ] 


Boaz: Ye are witnesses this day that I have bought all that 
was Elimelech’s, and all that was Chilion’s and Mahlon’s 
of the hand of Naomi. Moreover, Ruth, the wife of 
Mahlon, have I purchased to be my wife to raise up the 
name of the dead unto his inheritance, that the name of 
the dead be not cut off from among his brethren, and 
from the gate of his place. Ye are witnesses this day. 


Evers [Together]: We are witnesses. 
Soft music, At Dawning. 


Exper: The Lord make the woman that is to come unto thine 
house like Rachel and like Leah, which two did build the 
house of Israel, and do thou worthily in Ephratah, and 
be famous in Bethlehem. And let thy house be like the 


SCENE VII RUTH 119 


house of Pharez, whom Tamar bare unto Judah, of the 
offspring which the Lord shall give thee of this young 
woman. 


Reaver: So Boaz took Ruth and she was his wife. 
CuRTAIN. 


The music changes to The Cradle Song, which continues 
throughout Scene VII. 


SCENE VII. IN THE HOUSE OF BOAZ AND RUTH 
A YEAR LATER 


Rutu is reclining on a couch, gazing into a basket. In 
the basket lies a babe wrapped in swaddling clothes. A 
woman stands at the head of Rutu’s couch, another at 
the door. 


Woman [At the door]: Naomi cometh. 


RutnH: Naomi, my mother Naomi! May the God of our 
fathers be praised! 


Naomi enters and stands gazing at the babe. 


Ruts [Holding out hands to her mother]: Mother, behold the 
babe! 

Naomi: My daughter, thou hast borne Boaz a son. [Naomrs 
voice trembles with emotion as she kneels beside the 
basket. | 

Woman [Standing at head of the couch]: Blessed be the Lord, 
which hath not left thee this day without a kinsman, that 
his name may be famous in Israel. 

Seconp Woman [Gazing into the basket]: And he shall be 
unto thee a restorer of thy life, and a nourisher of thine 


120 RUTH SCENE VII 


old age, for thy daughter-in-law, which loveth thee, which 
is better to thee than seven sons, hath borne him. 


Naomi [Clasping the babe to her breast|: Let me take the 
child and lay it in my bosom and I shall be nurse unto it. 


Woman: This is a son borne to Naomi and he shall be called 
Obed, the worshiper and servant of Jehovah. 


Soft music as Naomi speaks. 


Naomi: Surely, Jehovah hath blessed his handmaiden! He 
took away and he hath given again. Blessed be the 
name of Jehovah! In the hour of my sorrow and bitter- 
ness, he gave unto me a daughter-in-law, which is better 
than seven sons, and now she hath given me this child to 
be a nourisher of my old age. 


Naomtr’s face becomes wdlumined as by a prophetic vision. 


Yea, and from his loins shall spring a king. 

And his name shall be called Wonderful, Counsellor, 
The Mighty God, the Everlasting Father, The Prince of 
Peace. 

And of the increase of his government and peace there 
shall be no end, upon the throne of David and upon his 
kingdom to order it, and to establish it with judgment 
and with justice from henceforth and even forever. 


CURTAIN. 


SAMUEL IN THE HOUSE OF 
THE LORD 


CHARACTERS 


Hannan, The Mother of Samure. 

Eu, the Priest 

Tue Cuitp SaMvuer (four or five years old) 
Tue Two Sons or Eu 

A SERVANT 

THE Voice oF THE LorD 


SAMUEL IN THE HOUSE OF THE LORD 


Scene I. Tue Hovse or tHe Lorp 

Scene II. Hannan’s Girt unto THE Lorp 
ScenE III. Tue Sin or tHe Sons or Ext 

Scene IV. Samvuext Hears THE Voice or THE LorpD 


This play is very appropriate as a Children’s Day Service. 

The little child Samuel should be as young as is possible consist- 
ent with his being able to understand his part. All that he says and 
does is adapted to a little child of four or five years. He will like to 
perform the services at the altar, as the placing of the shewbread 
in two rows is like a kindergarten game. He will also love to 
run and meet his mother and throw his arms about her neck when 
she suddenly returns, and the few sentences that he speaks are 
very simple. 

In the last scene let him take all the time that he wishes in 
removing his little coat and folding it and placing it beside his 
pallet and lying down and covering himself up and closing his 
eyes. Soft music is played all through this scene and the effect 
of the little child eagerly performing all these duties in utter un- 
consciousness of the congregation, while the music forms a back- 
ground to it all, is deeply moving and beautiful. 

A little child must be allowed to go over his part more often 
than the older ones. He will love to do it and will live it out in 
his vivid imagination. When he has finally grasped it all and 
knows his lines and just what he is to do, he will never fail at the 
final service. Once, when Hannah forgot to bring in his little coat 
in the third scene, and became much confused, little Samuel held 


the whole situation together by his presence of mind and entire 
123 


124 SAMUEL IN THE HOUSE OF THE LORD 


lack of self-consciousness. ‘Mother,’ he whispered, as he threw his 
arms about her neck, “‘you have forgotten to bring my coat, go 
back for it.” Then he returned to the altar and quietly arranged 
the shewbread until her return. Few realized, in the congrega- 
tion, that anything unforeseen had happened. 

The carved woodwork of the chancel itself forms a beautiful 
background for all the scenes which are the same. 

The Temple of the Lord in Shiloh, in the days of Eli the Priest, 
was very simple and little is known about it. There was a curtain 
of some soft rich color, preferably old gold, in the background 
concealing the Holy of Holies where the Ark of the Covenant 
stood. In front of the curtain stood a simple altar and one side 
of the altar a low stand or table for the shewbread. It may be 
covered with a linen cloth, unless the stand is carved and appropri- 
ate for the temple. There was probably no seven-branched candle- 
stick at this early time on the right side of the altar, but a brass 
brazier may stand there for the washing of the sacrifice when it 
is brought to the altar. Over the altar hung an oriental lamp. 
It is lighted throughout all the scenes. The altar is made by 
standing a wooden box on end and covering it with gold lacquer 
paper. A brass bowl is on the altar. A few live coals may be 
placed in the bowl and powdered incense sprinkled on top, filling 
the temple with the odor and thin smoke of the incense. 

On the extreme left of the platform and toward the front stands 
Eli’s chair during the first scene, and this is replaced in the last 
scene by the couch upon which Eli sleeps. | 

Samuel’s little pallet is rolled up and lies upon the ground to the 
right of the altar in the last scene. It is simply two oriental 
shawls or a rug and a shawl, one of which Samuel can unroll and lie 
down upon, covering himself with the other. 

The shewbread which Samuel brings in upon a brass or’ pewter 
platter is represented by twelve “Bentz water crackers.” These 
are thick and round, suggesting the loaves that the priests used. 
They are laid on the table in two rows of six each. (Leviticus 
xxiv, 5-6.) 


SAMUEL IN THE HOUSE OF THE LORD 125 


Samuel wears a white tunic, white sandal bindings, and a linen 
ephod, which was a broad girdle of blue or gold or red and other 
colors mixed. It is not necessary to follow the description of these 
symbolic garments accurately. One or two colors for the girdle is 
effective. The little coat can be blue or red, made with loose 
sleeves, to put on easily over the tunic. 

Eli wears a blue robe coming just below the knees over a white 
undergarment, with a girdle of blue and red, and a white or blue 
turban. 


MUSIC 


The music used in this play is “Old Melody,” by Sinding (Opus 
89, No. 2). If it can be played by violin and with the organ or 
piano it is most effective. Wherever soft music is indicated, the 
melody is played, growing louder during the times when the child 
Samuel is silently placing the shewbread beside the altar, and when 
he is preparing to sleep. 

There need only be a moment between the scenes, and while the 
curtain is closed a few soft chords, played on the organ, will hold 
the atmosphere of the service. 





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SAMUEL IN THE HOUSE OF THE LORD 


SCENE I. THE HOUSE OF THE LORD 


Reaver: Now there was a certain man of Mt. Ephraim and 
his name was Elkanah, and he had a wife, whose name was 
Hannah, but she had no children. And she went up unto 
the house of the Lord year by year. | 


Hannan enters by a side door and slowly ascends the 
steps to the altar. 


Now Eli the priest sat upon a seat by a post of the 
temple of the Lord. 

And Hannah was in bitterness of soul, and prayed unto 
the Lord and wept sore. And she vowed a vow, and said: 


Soft music, Old Melody (played by violin and piano), 
till the opening of Scene II. 

Hannan [Kneeling at right of altar]: O Lord of Hosts, if 
thou wilt indeed look upon the affliction of thine handmaid, 
and remember me, and not forget thine handmaid, but will 
give thine handmaid a man child, then I wilt give him unto 
the Lord all the days of his life. And there shall no razor 
come upon his head. 


Reaper: And it came to pass as she continued praying be- 
fore the Lord, that Eli marked her mouth. Now as 
Hannah spoke in her heart, only her lips moved but her 
voice was not heard. Therefore, Eli thought she had 
been drunken, and Eli said unto her: 


E11 [Rising and taking a step toward her]: How long wilt 
thou be drunken? Put away thy wine from thee. 
127 


128 SAMUEL IN THE HOUSE OF THE LORD sc. 


Hannan: Nay, my lord, I am a woman of a sorrowful spirit. 
I have drunk neither wine nor strong drink, but have 
poured out my soul before the Lord. 


Eu [Lifting his hand in blessing]: Go in peace, and the God 
of Israel grant thee thy petition that thou hast asked of 
him. 

Hannau: Let thine handmaid find grace in thy sight. 


She bows before the priest and departs, descendmg the 
steps. 


Reaper: So the woman went her way and did eat and her coun- 
tenance was no more sad. 


CurRTAIN. 


SCENE II. HANNAH’S GIFT UNTO THE LORD 


Same as Scene I 


Reaper: And Hannah rose up in the morning early and wor- 
shiped before the Lord and returned to her home to 
Ramah. And the Lord remembered her. Wherefore it 
came to pass that she bore a son, and called his name 
Samuel, saying, Because I have asked him of the Lord. 

And the man Elkanah and all his house went up to 
offer unto the Lord the yearly sacrifice, and his vow. 
But Hanaah went not up, for she said unto her husband, 
I will not go up until the child be weaned, then I will 
bring him that he may appear before the Lord, and there 
abide forever. 

And when she had weaned him she took him up with her 
and brought him unto the house of the Lord in Shiloh, and 
the child was young. 


The curtam parts. 


sc. un SAMUEL IN THE HOUSE OF THE LORD 129 


Hannan, leading little Samurn by the hand, enters the 
door at the side and ascends the steps. 


Reaper: And she brought the child to Eli. 


Hannan [Bowing on one knee before Ext, with her arm 
around little Samuret|: O my lord, as thy soul liveth, my 
lord, I am the woman that stood by thee here, praying 
unto the Lord. For this child I prayed and the Lord hath 
given me my petition which I asked of him. 


Eur [Placing his hand upon Samvuew’s head|: May the Lord 
bless thy son. 


Hannan: Therefore also have I lent him to the Lord. As 
long as he liveth he shall be lent to the Lord. 


E11: May the Lord bless thee for thy gift. 


Hannah rises and turns to the altar, looking up to heaven; 
the little child stands beside her holding her skart. 


Soft music, Old Melody. 


Hannan: My heart rejoiceth in the Lord. Mine horn is ex- 
alted in the Lord. There is none holy as the Lord, for 
there is none beside thee, neither is there any rock like our 
God. The bows of the mighty men are broken, and they 
that stumbled are girded with strength. For the pillars 
of the earth are the Lord’s and he hath set the world upon 
them. [Lifting her hands to heaven.| 

He will keep the feet of his saints and the wicked shall 
be silent in darkness, for by strength shall no man pre- 
vail. The Lord shall judge the ends of the earth, and he 
shall give strength unto his king and exalt the horn of his 
anointed, 


Hannan turns and gently taking Samuru by the hand 
leads him to Ex. She then kneels and embraces the child 
as she speaks very tenderly to him. 


130 SAMUEL IN THE HOUSE OF THE LORDsc. m 
The music ceases. 
Hannan: Samuel, my son, behold now I leave thee here in the 
temple to minister unto the Lord before Eli, the priest. 


SAMUEL [Clasping her tightly about the neck |: Mother, let me 
return with thee! 


Hannan: Nay, my son, dost remember how I have often told 
thee I have lent thee to the Lord? Dost remember? 


SAMUEL [Still clinging to her]: Yea, I remember. 


Hannan: And I will come up to the temple with thy father 
every year, and I will bring thee a little coat which I will 
make for thee. 


Hannan quietly loosens Samurw’s arms from about her 
neck, but holds him by both hands as she talks to him, 
very tenderly. 

SAMUEL: Wilt thou return soon, mother? 


Hannan: Yea, my son, so now thou wilt serve the Lord here 
in the temple and Eli the priest will direct thy steps in all 
that thou must do. 


She rises and places his little hand in the hand of Ex1. 


As Samuex stands gazing up into Exr’s face, Hannau 
swiftly departs. 


CuRTAIN. 


SCENE III. THE SIN OF THE SONS OF ELI 
E11 is seated in a chair, his head bowed with grief. 


Eur: Alas!) What is this that I hear! my sons know not 
the Lord. I have heard all that my sons do unto all 
Israel. Lo, I am very old and they will bring down my 
gray hairs with sorrow to the grave. 


sc. m SAMUEL IN THE HOUSE OF THE LORD 131 


He strikes his staff on the floor, a servant enters. 

Ext [To the servant]: Bid my sons come unto me. 
As the servant departs, E11 covers his face with his hands. 
Exr’s two sons enter. 


E11: Why do ye such things? For I hear of your evil deal- 
ing by all this people. Nay, my sons, for it is no good 
report that I hear. Ye make the Lord’s people to trans- 
gress. If one man sin against another, the judge shall 
judge him, but if a man sin against the Lord, who shall 
entreat for him? 


Son: Ha! Ha! We fear not the Lord! 


Srconp Son: Who is God that we should fear him? [They 
depart. | 


Ex1: Ye will bring down my gray hairs with sorrow to the 
grave. 


Ext lifts his arms in a gesture of despair, and rising 
slowly leaves, with bowed head. SAMUEL enters carrymg 
a plate of shewbread which he carefully arranges wpon 
the table beside the altar, as the music is heard. 


Soft music, Old Melody. 


Reaper: But Samuel ministered before the Lord, being a 
child girded with a linen ephod. Moreover, his mother 
made him a little coat and brought it to him year by year 
when she came up.to offer the yearly sacrifice. 


Hannan enters by the door below the platform and begins 
to ascend the steps. She pauses and gazes in silence at 
the child as he is busy before the altar, then she speaks, 
holding out her hands to him. 


132) SAMUEL IN THE HOUSE OF THE LORDsc. m 


HannaH: Samuel! 


SamMuEL [Turning quickly, he runs to her and flings himself 
upon her|: Mother! 


Hannau: My son, my son! 


SaMuEL [Still clinging to her]: Mother! 


gions: 
r apy 


The music ceases. 


Hannan: Thy father and I have come up to offer the yearly 
sacrifice and see—[Holding up the cloak] I have made 
thee a little cloak. 


E11 enters. Hannan bows before him. 
SAMUEL stands silently, holding his mother’s hand. 


Exr: The Lord bless thee, Hannah. 
Hannau: The Lord be with thee. 


E11: The child Samuel hath grown and is in favor both with 
the Lord and also with man. 


Hannan: Thy words make my heart to rejoice. Behold, I 
have brought him a little coat. 


SAMUEL: See the coat mother hath made for me! 
Ex: It is well. My child, thy mother shall array thee in thy 
new coat, 


Hannan kneels before the child and puts it on. He 
smoothes it with his hands. 


SAMUEL: It is a nice coat. 
E11: What dost thou say to thy mother for this gift? 


Samvuet [Flinging his arms about her neck]: I thank thee, 
Mother. 


CuRTAIN. 


sc. iv SAMUEL IN THE HOUSE OF THE LORD 13838 
SCENE IV. SAMUEL HEARS THE VOICE OF THE LORD 


Reaper: And the child Samuel ministered unto the Lord be- 
fore Eli. And the word of the Lord was precious in those 
days; there was no open vision. 


Ei enters with one hand outstretched, as SamuEt leads 
him by the other. 


Eur: Samuel, my son, my eyes are waxed dim that I cannot 
see. Lead me to the couch that I may lie he for the 
night draweth nigh. 


SaMvueEL: I will lead thee, Eli, here is thy couch. 


Eu [Seating himself on the couch|: Hath the lamp of the 
Lord gone out in the Temple of the Lord? Where the 
Ark of God is? 


Samuet [Running to the altar and looking up at the lamp]: 
Nay, it yet burneth. 
Soft music, Old Melody, to the end of the scene. 


Ei: It is well; go, my son, and lie down to sleep. 


Eur lies down, Samur. covers him with a robe. He then 
passes over to the right of the altar where his pallet 1s 
rolled up on the floor. He umrolls it, removes his little 
coat, folds it and lays it beside his pallet, and lying 
down covers himself with an oriental shawl and quickly 
falls to sleep. 


Reaper: And when Samuel was laid down to sleep the Lord 
called Samuel and said, 
Voice oF THE Lorp: Samuel! 


SamvueEL [Opening his eyes and sitting up|: Here am I! [He 
runs over to Exx’s couch.| Here am I, for thou callest me. 


Eur: I called not, lie down again. 


134 SAMUEL IN THE HOUSE OF THE LORD sc. w 


The child returns to his pallet, lies down, covers himself 
and closes his eyes. Soft music only is heard for a mo- 
ment, then the Voice. 


Voicze oF THE Lorp: Samuel! Samuel! 
Samuet [Scrambling out of bed and hurrying over to Eur]: 
Here am I, for thou dids# call me! 


Eu: I called not, my son, lie down again. 


SAMUEL returns to his bed and again falls to sleep. 


Reaver: Now Samuel did not yet know the Lord, neither was 
the word of the Lord yet revealed unto him. And the 
Lord called Samuel again the third time. 


Votce: Samuel !—Samuel !—Samuel! 


SAMUEL [Rising and running again to E11]: Here am I, for 
thou callest me! 


Ei [Half rising from his couch and speaking in wonder and 
awe]: I perceive that the Lord hath called the child! 
[Turning to the child and laying his hand upon his head | 
Go, lie down, and it shall be if He call thee, that thou shall 
say—Speak, Lord, for thy servant heareth. 

SAMUEL returns to his couch. 


Voice oF THE Lorp: Samuel! 


SAMUEL quickly sits up in bed and gazes upward, as he 
speaks. 


SAMUEL: Speak, Lord, for thy servant heareth! 


CurRTAIN. 


sc. v SAMUEL IN THE HOUSE OF THE LORD 135 


SCENE V. SAMUEL GIVES THE LORD’S MESSAGE 


Reaper: And Samuel lay until the morning, and opened the 
doors of the House of the Lord. And Samuel feared to 
show Eli the vision. Then Eli called Samuel and said: 


SAMUEL rises and is putting on his little coat and folding 
up his bed when Exx raises himself in his bed and calls. 


Ez: Samuel! My son! 
Samuet [Running to him]: Here am I! 


E11: What is the thing that the Lord hath said unto thee? I 
pray thee, hide it not from me. God do so to thee and 
more also if thou hide anything from me of the things that 
He saith unto thee! 


Samuret: The Lord saith unto me, I will judge against Eli 
all things which I have spoken concerning his house, be- 
cause his sons did wrong and he stopped them not. 

Es [Lifting a trembling hand to heaven]: It is the Lord! Let 
Him do what seemeth to Him good! [He bows his head 
in grief. | 


CuRTAIN. 
If Samurt is a very little child, the last scene can be 


omitted, as the lines will be too hard for him to learn, thus 
closing the service with Samur.’s reply to the Lord. 


M ‘onal 


Bae cae o): 





DAVID AND JONATHAN 


CHARACTERS 


Para 1 


Tue Voice or THE Lorp 

SAMUEL, the Priest 

Evpers oF BetuHieHeM (two or three) 
Jesse, a Bethlehemite 

Exsas, a son of JEssE 

ABINADAB, a son of JESSE 

SHAMMAH, a son of JESSE 

SEVEN OTHER SONS OF JESSE 

Davin, the youngest son of JEssE 
Savut, King of Israel 

ABNER, the Captain of Savuu’s Army 
JONATHAN, SAUL’s son 

A Servant or Savun 


Part 2 


SauL 

ABNER 

Evian, now in Savux’s army 
ABINADAB, now in Savuu’s army 
SHAMMAH, now in SAvuL’s army 
Davin, the shepherd lad 

Two Soupiers oF Sau 
GOLIATH oF GATH 

JONATHAN 

A Group or Marens or Israru 


Two or THREE SERVANTS OF SAUL 
A Lap 


Part 3 


Davip 

AHIMELECH, the Priest 

Dora, the Chief of Saut’s Herdsmen 

JONATHAN 

ABIATHAR, a son of AHIMELECH and a follower 
of Davip 

Astsul, a follower of Davin 

ABNER 

SauL 

A Group oF SAUL’s SOLDIERS 


Parr 4 


Davip 

Acuisu, King of Gath 

A SERVANT oF ACHISH 

SauL 

Two SerRVANTS OF SAUL 

A Woman or ENporR 

SAMUEL 

Two PRINCES oF THE PHILISTINES 
SoLDIERS OF THE PHILISTINES 
ABIATHAR 

SEVERAL Prizsts or Nog 

A Servant or Davip 

An EGyprTian 

A Youne Man 


DAVID AND JONATHAN 


PART 1. DAVID, THE FUTURE KING OF ISRAEL 


Scene I. OvrsipeE or BETHLEHEM 
Scene II. By an Attar IN BETHLEHEM 
Scene III. Wrruin Sauu’s Tent 

Scene IV. Wiruin Saut’s TENT 


PART 2. DAVID, THE SHEPHERD LAD 


ScENE I. Ona Hiwu sy THE VALLEY oF ELAH 
Scene II. ANnoruer Part or THE HILL 

Scene III. Iw rue Vauiey or Evan 

Scene IV. Wiruin Savut’s TENT 

ScENE V. Wrruin Sauu’s TENT 

Scene VI. A Frevtp 

Scene VII. A Feast in rue Kina’s House 
Scene VIII. A Frevp 


PART 3. DAVID, THE FUGITIVE 


Scene I. A Room in tHE House or AHIMELECH, THE 
PRIEST 

Scene II. A Forest at Ramau 

Scene III. Tue Witperness or ENGEDI 

Scene IV. THe WILDERNESS OF ENGEDI 


PART 4. DAVID AMONG THE PHILISTINES 


Scene I[. Tue Auprence CHAMBER oF AcHiIsH, KING oF 
GaTH 

Scene II. Berore THE CurtTAINn 

Scene III. A Room in tHe House or ENpor 

SceNE IV. ON tHE Way To JEZREEL 

ScENE V. OvrtsIDE oF ZIKLAG 


Scene VI. A Fietp 
140 


DAVID AND JONATHAN 14] 


The altar in Scene II, Part I (The Crowning of David), requires 
only a few large stones, as it can be very low. 

Saul’s tent may be represented by an oriental hanging, draped 
at the back, a couch and a few weapons, sword and shield hanging 
at one side, with a large brass brazier, if desired, near the front. 

David, as the Shepherd Boy, should wear a piece of fur hung over 
one shoulder and fastened on the opposite hip. He wears a short 
red or brown sleeveless tunic, a small shepherd’s bag of leather is 
hung across one shoulder by a cord or thong reaching to the hip, 
and a shepherd’s sling hangs from a leather belt at his waist. The 
sling is made by passing a long cord through both ends of an oblong 
strip of leather. 

In the house of Ahimelech the Priest, an altar made of a box 
covered with an oriental scarf stands in front of a curtain; there is a 
brass bowl upon it containing a few live coals on which incense is 
sprinkled, thus forming a cloud of smoke. There is a table for the 
shewbread at one side of the altar. 

Behind the altar is the ephod with the sword of Goliath wrapped 
in a linen cloth back of it. The ephod was very elaborate, but it 
can be represented by a breastpiece made out of cardboard with the 
various colors and the precious stones painted on it. See Exodus, 
Chapter 28, verses 6-8, for a description of the ephod. 

The cave in the Wilderness of Engedi can be represented by 
covering a grand piano with brown or gray cloth, leaving the space 
beneath the piano open at one side. There is space enough for 
Saul and two of his men to lie down inside. If there is no grand 
piano, screens or a clotheshorse will serve as a framework for the 
cave. 

The Audience Chamber of King Achish contains a dais with an 
oriental rug and some brilliant hangings as a background, with a 
few pieces of brass, a brazier, a tall Syrian candlestick, etc. 

A green curtain for a background and two or three small fir 
trees at the sides are enough to give the feeling of the outdoor 
scenes, 


142 DAVID AND JONATHAN 


MUSIC 


Part 1 


The Crowning of David ... Morning, by Greig, Peer Gynt 
Suite, Part I (Victrola). 

David’s Song . . . The 121st Psalm chanted or Ave Maria, by 
Schubert (Victrola), violin. 


Part 2 


The Boy David Theme ... Morning, by Greig, Peer Gynt 
Suite, Part I (Victrola). 

The Conquest of Goliath Theme . . . Chopin’s Prelude, No. 
20, Largo (Organ). 

The David and Jonathan Love Theme . . . The Swan, by Saint- 
Saéns (Victrola or organ or violin). 

The Dance of the Israelitish Maidens . . . Any slow, swaying 
rhythm with crash of cymbals to emphasize the beat. 

David’s Song . . . Ave Maria, played behind the scenes as David 
plays on his harp. 


The David and Jonathan Love Theme... The Swan (Vic- 
trola or organ or violin). 
Saul’s Banquet Music . . . Largo, from the New World Sym- 


phony, by Dvorak (Victrola). 
The David and Jonathan Love Theme ... The Swan. 


Part 3 


David Finds Goliath’s Sword ... Chopin’s Prelude, No. 20, 
Largo (Organ). 

David Enquiring of the Lord . . . Chopin’s Prelude, No. 20, 
Largo (Organ). 

The David and Jonathan Love Theme . . . The Swan, by Saint- 
Saéns (Victrola or organ). 

David and Saul Music . . . Meditation from Thais, by Massenet 
(Victrola or violin). 


DAVID AND JONATHAN 143 
Part 4 


David the Fugitive Theme . . . Largo, from the New World 
Symphony, by Dvorak (Victrola). 

The Witch of Endor Music ... At Dawn, the Overture from 
William Tell, Part I (Victrola). 

David's Grief Theme . . . Ave Maria, by Schubert (Victrola or 
violin). 


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DAVID AND JONATHAN 


Parr I 


SCENE I. OUTSIDE OF BETHLEHEM (Before the Curtain) 


Soft music, Morning, till the curtain parts for Scene IT. 


SAMUEL enters and pauses, looking to heaven as the Voice 
of the Lord is heard. | 


Reaver: And the Lord said unto Samuel: 


VoicE or THE Lorn: How long wilt thou mourn for Saul, see- 
ing I have rejected him from reigning over Israel? Fill 
thine horn with oil, and go, I will send thee to Jesse the 
Bethlehemite: for I have provided me a king among his 
sons. 


SAMUEL: How canI go? If Saul hear it, he will kill me. 


Voice or THE Lorp: Take a heifer with thee, and say, I am 
come to sacrifice to the Lord. And call Jesse to the 
sacrifice, and I will shew thee what thou shalt do: and 
thou shalt anoint unto me him whom I name unto thee. 


SAMUEL lifts his arms to heaven, then crosses them on his 
breast as he passes out with bowed head. 


SCENE II. BY AN ALTAR IN BETHLEHEM 


A group of elders are standing beside a rough stone altar, 
as SAMUEL enters bearing some fagots. 


Reaver: And Samuel did that which the Lord spake, and came 
to Bethlehem. And the elders of the town trembled at his 
coming, and said: 

145 


146 DAVID AND JONATHAN SCENE II 


Evers: Comest thou peaceably? 


SAMUEL: Peaceably: I am come to sacrifice unto the Lord: 
sanctify yourselves, and come with me to the sacrifice. 
Say unto Jesse and his sons that Samuel hath called them 
also to the sacrifice. 


As the elders depart to summon JEssE, SAMUEL arranges 
the wood upon the altar. When Jesse and his sons and 
the elders reénter, SAMUEL stands silently with folded arms 
behind the altar gazing at them. They lift one arm and 
bow their heads reverently before the prophet. 


SAMUEL [Gazing silently, then suddenly speaking |: Eliab, thou 
son of Jesse, step forward! [Eias steps out before the 
others | Surely the Lord’s anointed is before me! 


Reaver: But the Lord saith unto Samuel— 
Soft chords are played as the Votcr oF THE Lorp ts heard. 


Voice oF THE Lorp: Look not on his countenance, or on the 
height of his stature, because I have refused him, for the 
Lord seeth not as man seeth; for man looketh on the 
outward appearance, but the Lord looketh on the heart. 
[Extas passes by the altar over to the other side. | 


JESSE: Come hither, my son Abinadab. Pass thou before Sam- 
uel the prophet. [Asinapap steps out and passes by the 
altar. | 

SaMvuEL: Neither hath the Lord chosen thee. 


JEssE: Come hither, my son Shannah, pass thou before Samuel 
the prophet. [SHannau passes by the altar. | 


SAMUEL: Neither hath the Lord chosen this. 


JESSE: Come thou, my seven other sons, and pass before 
Samuel the prophet. [They pass slowly in line before the 
altar. | 


SCENE III DAVID AND JONATHAN 147 
SamuEeL [After they have passed by|: The Lord hath not 
chosen these. Are these all thy children? 


JEssE: There remaineth yet the youngest, and, behold, he 
keepeth the sheep. 


SAMUEL: Send and fetch him: for we will not sit down till he 
come hither. 
Soft music, Morning, till the curtain parts for Scene I]. 
Two of the elders depart hastily and return with Davin. 


Reaper: And he sent, and brought him in. Now he was ruddy, 
and withal of a beautiful countenance, and goodly to look 
to. And the Lord said: 


Voice oF THE Lorn: Arise, anoint him: for this is he. 


Reaper: Then Samuel took the horn of oil, and anointed him 
in the midst of his brethren. 


SAMUEL moves around to the front of the altar, and after 
lifting the horn of oil above Davin’s head as if he were 
anointing him, SAMUEL raises his hands above him in bless- 
ing as Davip kneels before him. 


SamvueEL: Behold, I anoint thee, David, to be king of Israel. 
And the spirit of the Lord shall come upon thee from 
this day forward. 


CuRTAIN. 


SCENE III. WITHIN SAUL’S TENT 


Sau is seated at the back heavily brooding. JoNaTHAN 
and ABneEnr are talking together at one side. 


Asner [TJ'o0 Jonatuan |: The spirit of the Lord hath departed 
from Saul and an evil spirit troubleth him! [T'o Sav | 
Behold now, an evil spirit from God troubleth thee. Let 


148 DAVID AND JONATHAN SCENE IV 


our Lord now command thy servants, which are before 
thee, to seek out a man who is a cunning player on a 
harp; and it shall come to pass, when the evil spirit from 
God is upon thee, that he shall play with his hand, and 
thou shalt be well. 


Sauu: Provide me now a man that can play well, and bring 
him to me. 


A Servant: Behold, I have seen David, the son of Jesse the 
Bethlehemite, that is cunning in playing, and a comely 
person, and the Lord is with him. 


Saut: Send messengers unto Jesse and say, Send me David 
thy son, which is with the sheep. 


Curtain [to denote the passage of time. ] 


SCENE IV. WITHIN SAUL’S TENT 
Sau sits brooding. 


Reaper: And Jesse took an ass Jaden with bread, and a bottle 
of wine, and a kid, and sent them by David his son unto 


Saul. 

Saut: Music! A harp! Give me music. 

ABNER: We have sent for the lad David, who can play unto 
my lord. 
A servant beckons to Apner at the door. He passes out. 


Enter Davin alone, with a harp. 


SauL [Gazing at him]: Art thou come? 
Davip: I am come, O king. 


Saut: Make haste; play, for the evil spirit is upon me. 


SCENE IV DAVID AND JONATHAN 149 


Davin sings the 121st Psalm. 
“T will lift up mine eyes unto the hills, 
from whence cometh my help,” etc. 
Or Ave Maria may be played behind the scenes while 
Daviv apparently plays his harp. 


Saux [Slowly rising|: I am refreshed and am well. The evil 
spirit hath departed from me! Go to thy father Jesse 
and say, David hath found favor in the king’s sight. 
Let him stand before me and be my armor bearer. 


Davip bows and departs. 


Reaper: But David went and returned from Saul to feed his 
father’s sheep at Bethlehem. 


CURTAIN, 


DAVID AND JONATHAN 


Part II 


SCENE I. ON A HILL BY THE VALLEY OF ELAH 


Reaper: Now the Philistines gathered together their armies 


to battle at Shochoh, which belongeth to Judah. And 
Saul and the men of Israel were gathered together and 
pitched by the valley of Elah, and set the battle in array 
against the Philistines. 

And the Philistines stood on a mountain on the one 
side, and Israel stood on a mountain on the other side, 
and there was a valley between them. 

And the three eldest sons of Jesse went and followed 
Saul to the battle. But David fed his father’s sheep at 
Bethlehem. 


Saux enters on the left with Apner, and points toward 
the right. 


SauL: Behold how the Philistines have gathered together their 


armies to battle, here at Shochoh which belongeth to 
Judah! Is my army pitched by the Vally of Elah? 


ABNER: Yea, my Lord, it is as Saul hath commanded. The 


men of Israel are gathered together and the battle is 
set in array against the Philistines. 


Saux: Lo, the Philistines stand on a mountain on that side and 


Israel standeth on a mountain on this side and there is this 
valley of Elah between us. 


Enter hurriedly Ex1zasn and AptnaDap. 
150 


SCENE I DAVID AND JONATHAN 151 


Evian [Bowing to earth before Sauu|: My Lord, there goeth 
out a champion out of the camp of the Philistines named 


Goliath of Gath. 


AxsinapaB: His height is six cubits and a span, and he hath a 
helmet of brass upon his head, and he is armed with a 
coat of mail; and he hath greaves of brass upon his legs, 
and a target of brass between his shoulders, and one bear- 


ing a shield goeth before him. 


Exias: And he stood and cried unto the armies of Israel, I 
defy the armies of Israel this day: give me a man that we 
may fight together. | 


SHamman [Rushing in]: Oh Saul! My Lord! Goliath of 
Gath draweth near—he crieth unto thy army! 


Votce: Why are ye come out to set your battle in array? Am 
I not a Philistine, and ye servants to Saul? Choose you a 
man for you, and let him come down to me. If he be able 
to fight with me, and to kill me, then will we be your 
servants; but if I prevail against him, and kill him, then 
shall ye be our servants, and serve us. 


Asner: His height is six cubits; the weight of his coat must be 
five thousand shekels of brass. 


Sau [Gazing out toward the voice|: The staff of his spear 
is like a weaver’s beam! And his spear’s head—surely it 
weigheth six hundred shekels of iron! 


Asner: We have none who can fight this man. 


The three brothers draw apart to the right, as Sauu 
and his Captain, talking in consternation together, leave 
on the right. 


Reaper: When Saul and all Israel heard these words of the 
Philistine they were dismayed and greatly afraid. 


The boy Daviww enters, bearing a large basket. 


152 DAVID AND JONATHAN SCENE I 
Soft music, Morning. 


Davin: The Lord be with you, my brethren! 
Euan: David! Our youngest brother! 
SHamMaH: How came you to leave the sheep at Bethlehem? 


Davin: Our father, Jesse, sent me unto thee, and he hath sent 
thee an ephah of this parched corn, and these ten loaves, 
and he hath sent these ten cheeses unto the captain of thy 
thousand, and he saith unto me—Run now to the camp to 
thy brethren and look how thy brethren fare, and take 
their pledge. And I rose up early in the morning, and 
left the sheep with a keeper, and took, and went as 
our father had commanded me, and came to the trench 
as the host was going forth to the fight, and shouted for 
the battle. 


The music ceases. 


Votce: Ho! Give me a man that we may fight together. I 
defy the armies of Israel] this day! 


Davip: Who is this that shouteth from the army of the Phili- 
stines? 


Two soldiers enter in haste and terror. They point and 
look out toward the camp of the Philistines. 


Evi1as: A great and terrible man of valor—Goliath of Gath; 
and there is none in all our army strong enough to go out 
to meet him. 


ABINADAB: Even all the men of Israel, when they saw the man, 
fled from him, and were sore afraid! 


Davip: Who is this uncircumcised Philistine, that he should 
defy the armies of the living God? 


SuamMauH: Have ye seen this man that is come up? Surely to 
defy Israel is he come up. 


SCENE I DAVID AND JONATHAN 153 _ 


Davip: What shall be done to the man that killeth this Phili- 
stine, and taketh away the reproach from Israel? 


Syamman: The man who killeth him, the king will enrich him 
with great riches, and will give him his daughter, and make 
his father’s house free in Israel. 


Davip: I will go out against him! 


The soldiers listen eagerly to Davin and then hurry out. 


Exuias [Scornfully]: Why camest thou down hither? And 
with whom hast thou left those few sheep in the wilder- 
ness? I know thy pride, and the naughtiness of thine 
heart, for thou art come down that thou mightest see the 
battle. 


Davip: What have I now done? Is there not a cause? 
Asner [Entering with the two soldiers]: Who is this youth? 


Evias [Saluting]: My lord, this is David, our youngest 
brother; he is but a lad and keepeth our father’s flock at 
Bethlehem. 


Daviv: My Lord, I will go out against the Philistine! 
Aztnapas [Aside to Davin]: Hold thy peace! Thou strip- 
ling! 
The brothers attempt to lead him out by force. 


Asner [Raising his hand]: Stay! The words which this lad 
hath spoken have been rehearsed before Saul and he hath 


sent for him. 


Ex1as [ Angrily to Davi]: Now see what thou hast done with 
thy vain boasting! 

SuammauH: Thou wilt bring these thy brethren into the king’s 
displeasure. 


Asner: Let this David be brought before the king. 


154 DAVID AND JONATHAN SCENE II 


The brothers and two soldiers fall back as the Captain 
departs with Davin. 


SCENE II. ANOTHER PART OF THE HILL 


Sau ts seated, with two of his soldiers standing behind 
him. ABNER enters with Davi. 


Asner |[Saluting|: My lord, I have brought the lad. 


Saux [In astonishment]: This is not the one who would defy 
the Philistine? 


Soft music, Morning, to the end of the scene. 


ABNER: This is the one! my lord! 


Davin: My lord, let no man’s heart fail because of him; thy 
servant will go and fight with this Philistine. 


SauL: Thou art not able to go against this Philistine to fight 
with him; for thou art but a youth, and he a man of war 
from his youth. 


Davip: Thy servant kept his father’s sheep, and there came a 
lion, and a bear, and took a lamb out of the flock, and I 
went out after him, and smote him, and delivered it out of 
his mouth; and when he rose against me, I caught him 
by his beard, and smote him, and slew him. Thy servant 
slew both the lion and the bear; and this uncircumcised 
Philistine shall be as one of them, seeing he hath defied the 
armies of the living God. The Lord that delivered me 
out of the paw of the lion, and out of the paw of the 
bear, he will deliver me out of the hand of this Philistine. 


SauL: Go, and the Lord be with thee. [Turning to ABNER, 
Sau removes his armor as he speaks| Arm him with my 
armor, and put a helmet of brass upon his head and arm 
him also with a coat of mail. 


SCENE III DAVID AND JONATHAN 155 


The Captain arms Davin. 


SauL: And gird my sword upon him. 


Davin is girded and bows to Sauu and moves awkwardly 
toward the left, weighed down with the armor. Then sud- 
denly turns back. 


Davin: I cannot go with these, my lord, for I have not proved 
them. Let it please the king I will put them off [He takes 
off the armor] and take my staff in my hand and I will 
choose five smooth stones out of the brook. [Running to 
the back and returning with the stones| I will put them in 
my shepherd’s bag; and my sling is in my hand. My 
lord, I am ready to fight the Philistine. 


Davin bows before Sau and hurries out as the shouts of 
GouiaTH are agai heard. 


CuRTAIN. 


SCENE III. IN THE VALLEY OF ELAH 


Enter GoutatH on the left with a shield bearer before him. 
Enter Davin on the right. He keeps the distance of the 
platform between them. 


Reaper: And the Philistine came on and drew near unto 
David; and the man that bare the shield went before him. 
And when the Philistine looked about, and saw David, he 
disdained him; for he was but a youth, and ruddy, and of 
a fair countenance. 


GouratH: Am I a dog that thou comest to me with staves? 
I curse thee by thy gods. Come to me, and I will give thy 
flesh unto the fowls of the air, and to the beasts of the 
field. 


156 DAVID AND JONATHAN SCENE Il 
Soft chords, Chopin’s Prelude, No. 20, Largo. 


Davin [Calling back to Goutarn |: Thou comest to me with a 
spear, and with a shield; but I come to thee in the name 
of the Lord of hosts, the God of the armies of Israel whom 
thou hast defied. This day will the Lord deliver thee into 
my hand; | As Davin calls to GouiatH, the giant, brandish- 
ing his sword and roaring, retreats a few steps so that 
when the stone is thrown he can fall behind some bushes 
or behind a screen| and I will smite thee, and take thine 
head from thee; and I will give the carcasses of the host 
of the Philistines this day unto the fowls of the air and to 
the wild beasts of the earth, that all the earth may know 
that there is a God in Israel. And all the assembly shall 
know that the Lord saveth not with the sword and spear; 
but the battle is the Lord’s, and he will give you into 
our hands. 


The music ceases. 


Reaver: And it came to pass, when the Philistines arose, and 
came and drew nigh to meet David, that David hasted, 
and ran toward the army to meet the Philistine. And 
David put his hand in his bag, and took thence a stone, 
and slang it [Davin hurls the stone. There is a crash of 
music and cymbals as Gouiatu falls behind the scenes | and 
smote the Philistine in his forehead, that the stone sunk 
into his forehead; and he fell upon his face to the earth. 
[Davin dashes out at left| So David prevailed over the 
Philistine with a sling and with a stone, and smote the 
Philistine and slew him, but there was no sword in the 
hand of David. Therefore David ran, and stood upon 
the Philistine, and took his sword, and drew it out of the 
sheath thereof, and slew him, and cut off his head there- 
with, 


Davin reappears holding GouiatH’s sword above his head 
in triumph. The music rises triumphantly to this climaz. 


SCENE III DAVID AND JONATHAN 157 


Reaver: And when the Philistines saw their champion was 
dead they fled. And the men of Israel and of Judah arose, 
and shouted, and pursued the Philistines until they came 
to the valley, and to the gates of Ekron. 


The men of Israel are heard shouting im the distance. 
The music ceases. 
Saut and ABNER enter. 


Sauu: Abner, whose son is this youth? 
Asner: As thy soul liveth, O king, I cannot tell. 
Sau: Inquire thou whose son the stripling is. 


Axsner: I will go and bring him before thee, my lord. 
ABNER salutes and departs. JONATHAN enters hurriedly. 


JONATHAN: Father! 
Sauut: My son, Jonathan! 
JonaTHAN: Who is this youth who hath killed the Philistine? 


Saux: I know not, my son. Abide here, for Abner bringeth 
him unto us. 


JONATHAN: Surely the spirit of Jehovah is upon him, and in 
the power of the Lord of Hosts did he go forth to the 
battle, for he hath done what no other man of all the hosts 
of Israel dared to perform. 


Saux: We will reward him with honor and gifts for that which 
he hath done this day. 


JONATHAN: Behold! they come! And lo, the lad is but a strip- 
lng! 

Asner [Entering with Davin]: I have brought the lad to thee, 
O King. 


Sau: Whose son art thou, thou young man? 


158 DAVID AND JONATHAN SCENE UI 


Soft music, The Swan. 


Davin: I am the son of thy servant Jesse the Bethlemite. 
Saut: Art thou a warrior? 


Davip: Nay, my lord, I am a shepherd and do feed my 
father’s sheep at Bethlehem. 


Sau: Thou art but a youth, and ruddy, and of a fair counte- 
nance, but in the power of the Lord hast thou slain that 
mighty Philistine, Goliath of Gath. Now, therefore, thou 
shalt go no more home to thy father’s house, for thou 
shalt be my armor bearer. 


JonatTHAN [Placing his garments upon David]: Lo, I will 
strip myself of my robe and give it to thee, and my 
garments even to my sword and to my bow and to my 
girdle. Let us now make a covenant between us, for I, 
Jonathan, love thee as my own soul. [They clasp hands] 
May the Lord watch between me and thee while we are 
absent one from the other. 


The music ceases. 


Singing is heard in the distance with crashing of cymbals. 
A band of maidens enters in a slow swaying dance, some 
beating cymbals, others taborets, which they strike as they 
bend from side to side in swaying rhythm. 


SEVERAL Maripens [As they approach Sau, chanting to the 
music |: Saul hath slain his thousands! 


OTHER Martens [Swaying and bowing as they pass Davin]: 
And David his ten thousands! 


They repeat this as they pass around the King and then 
around Davin. As they depart, their voices are heard in 
the distance singing the refrain. 


SCENE IV DAVID AND JONATHAN 159 


Sauw’s face darkens. He turns away from Davip and 
moves angrily to one side. Davin departs quietly and 
hastily. 


Saut: They have ascribed unto David ten thousands and to 
me they have ascribed but thousands. And what can he 
have more but the kingdom! 


JONATHAN | Laying his hand upon his father’s arm|: Nay, my 
Father, he hath done us a great service this day. 


CuRTAIN, 


SCENE IV. WITHIN SAUL’S TENT 


Reaper: And David went out withersoever Saul sent him, and 
behaved himself wisely; and Saul set him over the men 
of war, and he was accepted in the sight of all the people, 
and also in the sight of Saul’s servants. And Saul was 
afraid of David, because the Lord was with him, and was 
departed from Saul. Therefore Saul removed him from 
him, and made him his captain over a thousand; and he 
went out and came in before the people. And David 
behaved himself wisely in all his ways; and the Lord was 
with him. Wherefore when Saul saw that he behaved 
himself very wisely, he was afraid of him. But all Israel 
and Judah loved David, because he went out and came in 
before them. 

And Saul saw and knew that the Lord was with David 
and he was yet the more afraid of David, and Saul became 
David’s enemy. And he spake to Jonathan his son, and 
to all his servants that they should kill David. But 
Jonathan, Saul’s son, delighted much in David, and Jona- 
than told David, saying: 


JONATHAN and Davin enter, talking earnestly. 


160 DAVID AND JONATHAN SCENE IV 


JONATHAN: Saul, my father seeketh to kill thee: now there- 
fore, I pray thee, take heed to thyself until the morning, 
and abide in a secret place and hide thyself. And I will 
commune with my father of thee; and what I see that I 
will tell thee. 


Davin: Nay, Jonathan, it cannot be, nevertheless I will do as 
thou desirest. 


Reaver [They depart in opposite directions |: And Jonathan 
spake good of David unto Saul his father, and said unto 
him: 


Saut and JoNATHAN enter, talking earnestly. 


JONATHAN: Let not the king sin against his servant, against 
David; because he hath not sinned against thee, and be- 
cause his works have been to thee-ward very good. For 
he did put his life in his hand and slew the Philistine, and 
the Lord wraught a great salvation for all Israel: thou 
sawest it and didst rejoice. Wherefore then wilt thou sin 
against innocent blood to slay David without a cause? 


Reaper: And Saul hearkened unto the voice of Jonathan, and 
Saul sware, 


Sauu [Raising his hand for the oath]: As the Lord liveth he 
shall not be slain. 


JONATHAN hurries out as Sau sinks heavily into his chair. 


Reaper: And Jonathan called David and shewed him all those 
things. And Jonathan brought David to Saul. [A 
change comes over the king. The scene darkens and he 
mutters and reaches for his javelin. | 


Davin and Jonatuan enter. At sight of his Father, 
JONATHAN draws Davin aside and speaks softly to him. 


SCENE V DAVID AND JONATHAN 161 


JonatHaAN: The Evil Spirit is again upon Saul, behold he sit- 
teth with the javelin in his hand! 


Davin [Quickly taking his harp from the wall|: 1 will play as 
at other times. 


Davin plays and sings a psalm, or Ave Maria is heard as 
he plays his harp. 


Saux [Suddenly starting up and clutching the arm of his chair 
unsteadily|: I will smite David to the wall with my 
javelin! , 


Davin’s music half drowns Savuw’s words and he sinks back 
for a moment as the melody rises triumphantly. 


Sau suddenly casts the javelin at him with a cry. But 
Davin avoids it and quickly slips from the tent. Sau 
stands with flashing eyes as a crash of cymbals and chords 
are heard, then staggers back m a swoon upon his chair. 


Reaver: And Saul sought to smite David even to the wall with 
the javelin, but he slipped away out of Saul’s presence, 
and he smote the javelin into the wall. And David fled 
and escaped that night. 


CurRTAIN. 


The Swan is played between the scenes and continues 
softly after the curtam parts. 


SCENE V. WITHIN SAUL’S TENT 


JONATHAN is pacing to and fro, as Davip enters. 


Davin: What have I done? What is mine iniquity? And 
what is my sin before thy father, that he seeketh my life? 


162 DAVID AND JONATHAN SCENE V 


JONATHAN: God forbid. Thou shalt not die. Behold, my 
father will do nothing either great or small, but that he 
will shew it me, and why should my father hide this thing 
from me? It is not so, 


Davip: Thy father certainly knoweth that I have found. 
grace in thine eyes; and he saith, Let not Jonathan know 
this, lest he be grieved. But truly, as the Lord liveth, 
and as thy soul liveth, there is but a step between me and 
death. 


JonaTHAN: Whatsoever thy soul desireth, I will even do it for 
thee. 


The music ceases. 


Davin: Behold, to-morrow is the new moon, and I should not 
fail to sit with the King at meat: but let me go, that I 
may hide myself in the field unto the third day at even. 
If thy father at all miss me, then say, David earnestly 
asked leave of me that he might run to Bethlehem his city: 
for there is a yearly sacrifice there for all the family. If 
he say thus, It is well, thy servant shall have peace; but 
if he be very wroth, then be sure that evil is determined by 
him. Therefore thou shalt deal kindly with thy servant, 
for thou hast brought thy servant into a covenant of the 
Lord with thee; notwithstanding, if there be in me in- 
iquity, slay me thyself, for why shouldst thou bring me to 
thy father? 


JONATHAN: Far be it from thee; for if I knew certainly that 
evil were determined by my father to come upon thee, 
then would not I tell it thee? 


Davin: Who shall tell me? Or what if thy father answer thee 
roughly? 


Soft music, the Swan. 


SCENE VI DAVID AND JONATHAN 163 


JONATHAN: Come, and let us go out into the field. 
They depart. 
CurRTAIN. 


The music grows louder between the scenes. 


SCENE VI. A FIELD 
Enter Davin and JONATHAN. 


JonatHan [Pausing and laying his hand on Daviv’s shoulder | : 
O Lord, God of Israel, when I have sounded my father 
about to-morrow any time, or the third day, and, behold, 
if there be good toward David, and I then send not unto 
thee, and shew it thee, the Lord do so and much more to 
Jonathan; but if it please my father to do thee evil, then 
I will show it thee, and send thee away, that thou mayest 
go in peace, and the Lord be with thee, as he hath been 
with my father. And thou shalt, not only while yet I 
live, shew me the kindness of the Lord, that I die not, 
but also thou shalt not cut off thy kindness from my house 
for-ever, for I love thee as I love my own soul. [They 


clasp hands. | 
The music ceases. 


To-morrow is the new moon, and thou shalt be missed, be- 
cause thy seat will be empty, and when thou hast stayed 
three days, then thou shalt go down quickly, and come 
to the place where thou didst hide thyself when the busi- 
ness was in hand, and shalt remain by the stone Ezel. 
And I will shoot three arrows on the side thereof, as 
though I shot at a mark, and I will send a lad, saying, 


164 DAVID AND JONATHAN SCENE VII 


Go, find out the arrows. If I expressedly say unto the 
lad, Behold, the arrows are on this side of thee, take 
them. ‘Then come thou, for there is peace to thee, and no 
hurt, as the Lord liveth. But if I say unto the young 
man, Behold, the arrows are beyond thee, go thy way, 
for the Lord hath sent thee away. And as touching the 
matter which thou and I have spoken of, behold, the 
Lord be between thee and me for-ever. 


They embrace and Jonatuan departs. 
CuRTAIN. 


Largo from the New World Symphony is played until the 
curtain parts for Scene VIII. 


SCENE VII. A FEAST IN THE KING’S HOUSE 


A long table is spread before a curtain with Saur’s seat 
in the center. Servants are bearing in fruits and filling 
the wine cups. 


Reaver: So David hid himself in the field, and when the new 
moon was come, the king sat him down to eat. [Sau 
enters with ABNER and JONATHAN | And the king sat upon 
his seat as at other times. And David’s place was empty. 
[They seat themselves, ABNER on the Kine’s left, Jona- 
THAN on his right, with a place set beside JONATHAN which 
as empty. | 

SauL: Wherefore cometh not the son of Jesse to meat, neither 
yesterday nor to-day? 


JonaTHAN: David eagerly asked leave of me to go to Bethle- 
hem. And he said, Let me go, I pray thee, for our family 
hath a sacrifice in the city and my brother hath com- 
manded me to be there. Therefore he cometh not unto 
the King’s table. 


SCENE VIII DAVID AND JONATHAN 165 


SauL [Suddenly rising in his anger|: Thou son of a perverse 
rebellious woman, do not I know that thou hast chosen the 
son of Jesse to thine own confusion? For as long as he 
liveth upon the ground thou shalt not be established, nor 
thy kingdom. Wherefore now send and fetch him unto 
me, for he shall surely die. 


JONATHAN: Wherefore shall he be slain? What hath he done? 


Reaper: And Saul cast a javelin at him to smite him [The 
javelin is cast], whereby Jonathan knew that it was de- 
termined of his father to slay David. And he arose from 
the table in fierce anger. 


JONATHAN [Rising im wrath|: I will eat no meat, for the 
shame that thou hast done to David this day! [He 
leaves the room. | 


CurTAIN. 


SCENE VIII. THE FIELD 


Reaper: And it came to pass in the morning that Jonathan 
went out into the field at the time appointed with David, 
and a little lad with him. [Jonaruan and a lad enter] 
But the lad knew not anything, only David and Jona- 
than knew the matter. 


JONATHAN: Run, find out the arrows which I shoot. [He 
shoots an arrow, then calls after the lad| Is not the arrow 
beyond thee? Make speed, haste, stay not. 


Lap [Returning with the arrows|: Here are the arrows which 
I have gathered up. 


JONATHAN: Go, carry them to the city. 


Soft music, The Swan, to the end. 


166 DAVID AND JONATHAN SCENE VIII 


Reaver: And as soon as the lad was gone, David arose out of 
a place toward the south and fell on his face to the 
ground and bowed himself three times. 


Davin creeps out from a cave or from behind a fir tree, 
and embraces JONATHAN. 


JONATHAN: Fear not, for the hand of Saul my father shall 
not find thee; and thou shalt be king over Israel, and I 
shall be next unto thee, and that also Saul my father 
knoweth. Let us now make a covenant before the Lord. 


Born [Claspimg hands and repeating together|: The Lord 
be between me and thee and between my seed and thy seed 
for-ever. 


JONATHAN: Go in peace. 
JONATHAN kisses Davin on both cheeks and Davw departs. 


Reaver: And he arose and departed and Jonathan went into 
the city. 


CurRTAIN. 


Part III 


SCENE I. A ROOM IN THE HOUSE OF AHIMELECH 
THE PRIEST 


In front of a curtain stands an altar, there is a table 
at one side of it. Back of the altar rests the ephod with 


GouiaTH’s sword wrapped in a linen cloth. 


The Priest enters with a large platter of shewbread. 


He is placing it upon the table when Davin suddenly 
enters and stands before him. Back of the further end 


of the curtain stands a man concealed. 


Davip: Ahimelech! 


AutmeLEcH: Why art thou alone, and no man with thee? 


Davin: The king hath commanded me a business, and hath 
said unto me, Let no man know anything of the busi- 
ness whereabout I send thee, and what I have commanded. 
thee, and I have appointed my servants to such and such 


a place. Now, therefore, what is under thy hand? Give 


me five loaves of bread in mine hand, or what there is 


present. 


Autmetecu: There is no common bread under mine hand, but 


there is hallowed bread. 


Davin: Of a truth I have kept myself clean. Give me, I pray 


thee, the hallowed bread. 


AnImMELEcH: There is no bread here but the shewbread that 


was taken from before the Lord, but thou shalt have it 


to eat. 
167 


168 DAVID AND JONATHAN SCENE II 


The man slips out from the curtains and dashes out of 
the house. 


Davin: Who is that man? Was he not Doeg, an Edomite, the 
chiefest of the herdsmen that belong to Saul? © 


AHIMELECH: He is Doeg; he hath been detained here this day. 


Davin: Is there not here under thine hand spear or sword? For 
I have neither brought my sword nor my weapons with me, 
because the king’s business required haste. 


Soft chords of Chopim’s Prelude (No. 20, Largo) are 
played. 


AutmeELECH: The sword of Goliath the Philistine, whom thou 
slewest in the valley of Elah, behold, it is here wrapped 
in a cloth behind the ephod; if thou wilt take that, take it, 
for there is no other save that here. 

Davip: There is none like that; give it to me. [The Priest 
unwraps the sword and hands it to Davin] I pray thee 
give me thy blessing. 

AuImMeELECcH [Laying his hands wpon Davin’s head]: The Lord 
be with thee, David, for thou art the anointed of the Lord. 


Davip departs. 
CurRTAIN. 


Chopin’s Prelude continues until the curtam parts for 
Scene Il. 


SCENE II. A FOREST AT RAMAH 


Saut iw seated beneath a tree with a small group of 
his warriors standing around him. 


READER: Saul heard that David was discovered, and the men 
that were with him. Now Saul abode in Gibeah under a 


SCENE II DAVID AND JONATHAN 169 


tree in Ramah, having his spear in his hand, and all his 
servants were standing about him. 


Savi: Hear now, ye Benjamites; will the son of Jesse give 
every one of you fields and vineyards, and make you all 
captains of thousands and captains of hundreds; that all 
of you have conspired against me, and there is none that 
sheweth me that my son hath made a league with the son 
of Jesse, and there is none of you that is sorry for me, 
or sheweth unto me that my son hath stirred up my 
servant against me, to lie in wait, as at this day? 


Dore [Bowing to the king]: I saw the son of Jesse coming to 
Nob, to Ahimelech the son of Ahitub. And he inquired of 
the Lord for him, and gave him victuals, and gave him the 
sword of Goliath the Philistine. 


Savi: Call Ahimelech the priest, the son of Ahitub. [Doze 
departs and returns with AHIMELECH, ABIATHAR and 
several priests of Nob] Hear now, thou son of Ahitub. 


Autmetecn: Here I am, my lord. 


Saut: Why have ye conspired against me, thou and the son 
of Jesse, in that thou hast given him bread, and a sword, 
and hast inquired of God for him, that he should rise 
against me, to lie in wait, as at this day? 


Animetecu: And who is so faithful among all thy servants as 
David, and goeth at thy bidding, and is honorable in 
thine house? Did I then begin to inquire of God for him? 
Be it far from me: let not the king impute anything unto 
his servant, nor to all the house of my father; for thy 
servant knew nothing of all this, less or more. 


Saut: Thou shalt surely die, Ahimelech, thou, and all thy 
father’s house. [To his soldiers] Turn, and slay the 
priests of the Lord; because their hand also is with 
David, and because they knew when he fled, and did not 
shew it to me. [The soldiers draw back and hesitate] 


170 DAVID AND JONATHAN SCENE II 


What! Will ye not put forth your hand to fall upon the 
priests of the Lord? [To Dozc] Turn thou, Doeg, and 
fall upon the priests. 


Dore draws his sword and pursues Autmetecn and the 
priests; they rush out as ApiaTHaR escapes. 


CURTAIN. 


SCENE III. THE WILDERNESS OF ENGEDI 


There is a cave at one side. 


Reaper: And David abode in the wilderness in strongholds, 
and remained in a mountain, and one of the sons of 
Ahimelech, named Abiathar, escaped, and fled after 
David. [Axtaruar enters with the ephod.] 


ApiaTHar: David, my lord, Saul hath slain Ahimelech, my 
father, and all the Lord’s priests! 


Davip: I knew it that day, when Doeg the Edomite was there, 
that he would surely tell Saul; I have occasioned the death 
of all the persons of thy father’s house. Abide with me, 
fear not; for he that seeketh my life seeketh thy life; 
but with me thou shalt be in safeguard. 


AxpraTHaR: Behold, the Philistines fight against Keilah and 
they rob the threshing floors. 


Soft chords, Chopin’s Prelude (No. 20, Largo). 


Davip: Let me inquire of the Lord. [Looking wp im prayer 
and lifting his hands above his head] Shall I go and smite 
these Philistines? [Davin is silent a moment after asking 
of the Lord—then tells Astatuar the Lord’s answer | The 
Lord said unto David, Go, and smite the Philistines and 
save Keilah. 


SCENE III DAVID AND JONATHAN 171 


Axsratuar: Behold, my men be afraid here in Judah; how much 
more then if we come to Keilah against the armies of the 
Philistines ? 


Davin: I will inquire of the Lord yet again. [Looking up 


in prayer again] The Lord saith, Arise, go down to 
Keilah, for I will deliver the Philistines into thine hand. 


Davin and ABIATHAR depart. 


The music ceases. 


Reaper: So David and his men went to Keilah; they fought 
with the Philistines, and brought away their cattle, and 
smote them with a great slaughter. So David saved the 
inhabitants of Keilah. [Davin enters with two of his men] 
And David abode in the wilderness in strongholds and 
remained in a mountain in the wilderness. And Jona- 
than went to David in the wood and strengthened his hand 
in God. [JonaTrHan suddenly enters. | 


Davip [With a cry]: It is Jonathan! My brother Jonathan! 
[To the men] Leave us, I pray thee. [The men depart. | 
Soft music, The Swan. 
JonaTtHAaN: David—David! I have found thee at last. [They 
embrace. | 
Davin: Does thy father know where I am? 


JonatHan: Nay, fear not, for the hand of Saul my father 
shall not find thee; and thou shalt be king over Israel and 
I shall be next unto thee, and that also Saul my father 
knoweth. 


Reaper: And they two made a covenant before the Lord and 
David abode in the wood and Jonathan went to his house. 


CuRTAIN. 


The music continues till the curtain parts for Scene IV. 


172 DAVID AND JONATHAN SCENE IV 


SCENE IV. THE WILDERNESS OF ENGEDI (Same as 
Scene IIT) 


Davip enters with Axnisu1 and Aptatuar. They conceal 
themselves in the cave. 


Reaper: And it came to pass, when Saul was returned from 
following the Philistines, and it was told him, saying, 
Behold, David is in the wilderness of Engedi, then Saul 
took three thousand chosen men out of all Israel, and went 
to seek David and his men upon the rocks of the wild 
goats. [Sau and two soldiers enter| And he came to 
the sheepcotes by the way, where there was a cave. 


SauL: Yonder is a cave, We will tarry here and sleep. [They 
lie down in the doorway of the cave.] 


Reaper: And David and his men remained in the sides of the 
cave, 


As soon as Saut and his soldiers sleep, Daviv and his men 
creep out from the inside of the cave. 


Axisut: God hath delivered thine enemy into thine hand this 
day; now, therefore, let me smite him with the spear to 
the earth. 


Davip: Destroy him not. For who can stretch forth his hand 
against the Lord’s anointed and be guiltless? I will not 
suffer thee to rise against Saul. [Bending over him, he 
cuts a piece from his coat with his sword] I will cut off 
the skirt of Saul’s robe. [Holding the piece of his robe 
and gazing down at the sleeping king] The Lord forbid 
that I should do even this thing unto my master, the 
Lord’s anointed, to stretch forth mine hand against him, 
seeing he is the anointed of the Lord. 


Davin | Moving to the extreme end of the platform, then turn- 
img and calling aloud]: Abner! Answerest thou not, 
Abner? 





SCENE IV DAVID AND JONATHAN 173 


Asner [Arising from the cave]: Who art thou that criest to 
the king? 


Davin: Art not thou a valiant man and who is like to thee 
in Israel! Wherefore then hast thou not kept thy lord, 
the king? 


Sau [Starting up]: 1s this thy voice, my son David? 


Davin: It is my voice, my lord, oh King. Wherefore hearest 
thou men’s words, saying, Behold, David seeketh thy hurt? 


Soft music, Meditation from Thats by Massenet, to the 
end of the scene. 


[Sau starts back as Davip bows with his face to the 
earth| Behold, this day thine eyes have seen how that 
the Lord had delivered thee into mine hand in the cave, 
and some bade me kill thee;* but mine eye spared thee; 
and I said, I will not put forth mine hand against my 
lord, for he is the Lord’s anointed. Moreover, my 
Father, see, yea, see the skirt of thy robe in my hand, 
for in that I cut off the skirt of thy robe, and killed thee 
not, know thou and see that there is neither evil nor trans- 
gression in mine hand, and I have not sinned against 
thee; yet thou huntest my soul to take it. The Lord 
judge between me and thee, and the Lord avenge me of 
thee; but mine hand shall not be upon thee. As saith 
the proverb of the ancients, Wickedness proceedeth from 
the wicked; but mine hand shall not be upon thee. After 
whom is the king of Israel come out? After whom dost 
thou pursue? The Lord therefore be judge, and judge 
between me and thee, and see, and plead my cause, and 
deliver me out of thine hand. 


Sau: Is this thy voice, my son David? Thou art more right- 
eous than I; for thou hast rewarded me good, whereas I 
have rewarded thee evil. And thou hast shewed this day 
how that thou hast dealt well with me; forasmuch as 


174 DAVID AND JONATHAN SCENE IV 


when the Lord had delivered me into thine hand, thou 
killedst me not. For if a man find his enemy, will he let 
him go well away? Wherefore the Lord reward thee 
good for that thou hast done unto me this day. And now, 
behold, I know well that thou shalt surely be king, and 
that the kingdom of Israel shall be established in thine 
hand. Swear now therefore unto me by the Lord, that 
thou wilt not cut off my seed after me, and that thou 
wilt not destroy my seed after me, and that thou wilt not 
destroy my name out of my father’s house. 


Davin [Lifting his hand above his head]: I swear by the 
Lord that I, David, will do no evil to Saul, the King. 


CuRTAIN. 


The music ceases. 


Parr IV 


SCENE I. THE AUDIENCE CHAMBER OF ACHISH, 
KING OF GATH 


Soft music, Largo from the New World Symphony. 


Reaper: And David said in his heart, I shall now perish, one 
day, by the hand of Saul: there is nothing better for me 
than that I should speedily escape into the land of the 
Philistines; and Saul shall despair of me to seek me any 
more in any coast of Israel: so shall I escape out of his 
hand. 

And David arose, and he passed over with the six hundred 
men that were with him unto Achish, the King of Gath. 


The curtain parts, showing Acuisu seated upon a throne. 
A servant enters and bows to the ground before hum, then 
rises and speaks. 


Servant: My lord, the King! Behold that great warrior of 
the army of Israel, David, waiteth without! 


Acuisu: Is he come for good or for ill? 
Servant: As a fugative, fleeing from Saul is he come. 


Acutisu: Let him enter. 


The servant departs and returns with Davin and ApisHt. 
They bow before the king. 


Acuisu: David, thou young man of war, what bringeth thee 
hither? 
175 


176 DAVID AND JONATHAN SCENE I 


Davip: If I have found grace in thine eyes, O King, give me 
a place in some town in thy country that I may dwell 
there, for I have fled out of Israel to escape out of the 
hand of Saul. 


AcuisH: I will give thee Ziglag wherein to dwell. 
Davin: There be six hundred men with me—— 


AcuisH: Thou and thy men may dwell therein, 


Davin bows before the Kine as the curtain closes to denote 
the passage of time. 


Reaper: And the time that David dwelt in the country of 
the Philistines was a full year and four months. And 
David and his men went up and invaded the Geshurites 
and the Gezrites and the Amalekites. 


The curtam parts again. 
The music ceases. 


AcuisH is seated upon his throne, but rises and goes to 
meet Davin as he enters. 


AcuisH: Whither have ye made a road to-day? 
Davin: Against the south of Judah. 


AcuisH: Thou hast made, thy people Israel utterly to abhor 
thee. Therefore thou shalt be my servant for-ever. We 
are gathered together for warfare to fight with Israel. 
Thou shalt go out with me to battle, thou and thy men. 


Davin: Surely thou shalt know what thy servant can do. 
Acuisu: ‘Therefore will I make thee keeper of mine head for- 


ever. [They go out talking earnestly. | 


CuRTAIN. 


SCENE II DAVID AND JONATHAN 177 


The Largo from the New World Symphony is played be- 
tween these scenes. 


SCENE II. (Before the Curtain) 


Reaper: And the Philistines gathered themselves together and 

came and pitched in Shunem. And when Saui saw the 
host of the Philistines he was afraid and his heart greatly 
troubled. 
Now Samuel was dead and all Israel lamented him and 
had buried him in Ramah, and Saul had put away those 
that had familiar spirits, and the wizards out of the land. 
And when Saul enquired of the Lord, the Lord answered 
him not, neither by dreams, nor by prophets. 


Sauu enters before the curtain with a servant. 


Saunt: Seek me a woman that hath a familiar spirit, that I 
may go to her and enquire of her, for my heart is greatly 
troubled because of the host of the Philistmes that is 
encamped against us. 


Servant: Behold, there is a woman that hath a familiar spirit 
at En-dor. 7 

Saux: I will disguise myself and put on other raiment, and go, 
and thou shalt go with me. 


They pass out at one side. 


SCENE III. A ROOM IN THE WOMAN’S HOUSE AT 
EN-DOR 


The scene is dimly lighted. There is a fire burning low 
im a brazier. 


Reaper: And Saul went and two men with him, and they came 
to the woman by night. 


178 DAVID AND JONATHAN SCENE III 


Knocking is heard. A Woman enters and opens a door. 
Saut and his two men enter. 


Woman: Who art thou? And why comest thou here at this 
hour? 


Sauut: I am an Ishmaelite. I pray thee, divine unto me by 
the familiar spirit, and bring me him up whom I shall 
name unto thee. 


Woman: Behold, thou knowest what Saul hath done, how he 
hath cut off those that have familiar spirits, and the 
wizards out of the land: wherefore then layest thou a 
snare for my life, to cause me to die? 


Sau: As the Lord liveth, there shall no punishment happen to 
thee for this thing. 


Woman [Sprinkling incense upon the fire and passing back of 
the smoke that arises]: Who shall I bring up unto thee? 
Saut: Bring me up Samuel. [He stands by the front of the 


fire as she remains back of the smoke rising from the m- 
censé. | 


Woman [In a low voice|: I do now call up the Spirit of the 
Prophet Samuel! [T’o Savut| He cometh | Suddenly 
with a cry] Why hast thou deceived me, for thou art 
Saul! 


Sau: Be not afraid, for what sawest thou? 





Woman: I saw a god ascending out of the earth. 
Saut: What form is he of? 


Woman [Gazing into the fire and smoke]: An old man cometh 
up—and he is covered with a mantle! 


Soft music, At Dawn (William Tell Overture) 


Slipping unseen from behind a curtain, a form slowly 
approaches the fire; it stands beside the Woman with the 
smoke ascending in front of tt. 


SCENE III DAVID AND JONATHAN 179 


Sau [Taking a step forward and gazing through the mists, 
in a voice deep with awe]: It is Samuel! [He bows with 
his face to the ground. His men draw back in fear. | 


Samuret [Deep and hollow in sound]: Why hast thou dis- 
quieted me to bring me up? 


SauLt: I am sore distressed, for the Philistines make war 
against me, and God is departed from me, and answereth 
me no more, neither by prophets, nor by dreams: there- 
fore I have called thee, that thou mayest make known 
unto me what I shall do? 


Samuet [Pointing at Sau through the smoke]: Wherefore 
dost thou ask of me, seeing the Lord is departed from thee, 
and is become thine enemy? And the Lord hath done as 
He spake by me, for the Lord hath rent the kingdom out 
of thine hand, and given it to thy neighbor, even to David. 
Because thou obeyedst not the voice of the Lord, there- 
fore hath He done this thing unto thee this day. More- 
over, the Lord will also deliver Israel with thee into the 
hand of the Philistines: and to-morrow shalt thou and 
thy sons be with me. The Lord also shall deliver the 
host of Israel into the hand of the Philistines. [The 
figure slowly recedes into the darkness and vanishes. | 


The music ceases. 


Reaper: Then Saul fell straightway along on the earth and 
was sore afraid and there was no strength in him, for he 
had eaten no bread all the day nor all the night. And 
the woman came unto Saul and saw that he was sore 
troubled. 


Woman [Bending over Saux as his two men half raise him to 
a sitting position]: Now therefore, I pray thee, harken 
thou also unto the voice of thine handmaid, and let me 
set a morsel of bread before thee, and eat, that thou 
mayest have strength when thou goest on thy way. 


180 DAVID AND JONATHAN SCENE IV 
Saut [Shaking his head and speaking with difficulty|: I— 


will—not—eat. 


Reaver: But his servants, together with the woman, compelled 
him. And he hearkened unto their voice. So he arose 
from the earth and sat upon the bed. And she brought 
food before Saul and before his servants. 


After they have led Saut to a couch at one side, the 
Woman hurries out and returns with a platter of bread 
and fruits and a goblet. She bows on one knee before 
the king and presents it. He takes a small piece of bread, 
eats and drinks and then rises sadly with bowed head. 
Lifting one hand in a farewell gesture he departs with 
his servants. 


Reaver: Then they rose up and went away that night. 


CuRTAIN. 


SCENE IV. ON THE WAY TO JEZREEL 


Reaver: Now the Philistines gathered together all their armies 
and the lords of the Philistines passed on by hundreds, 
but David and his men passed on in the rearward of 


Achish. 


Two princes of the Philistines with several soldiers enter, 
as AcuisH enters with several from the opposite side. 


A Prince [T'o AcutsH|]: What do these Hebrews here? 


AcuisH: Is not this David, the servant of Saul, the King of 
Israel, which hath been with me these days, or these years, 
and I have found no fault in him. 


Seconp Prince: Make this fellow return, that he may go 
again to his place which thou hast appointed him. 


SCENE IV DAVID AND JONATHAN 181 


First Prince: And Iet him not go down with us to battle, lest 
in the battle he be an adversary to us. For wherewith 
should he reconcile himself unto his master? Should it 
not be with the heads of these men? 


SEcoND Prince: For is not this David, of whom they sang one 
to another in dances, saying, Saul slew his thousands, and 
David his ten thousands? 


The princes and their soldiers depart. 
AcuisH [T'o a soldier|: Call David to me. 
The soldter goes out and returns with Davin. 


AcuisH: Surely as the Lord liveth, thou hast been upright, 
and thy going out and thy coming in with me in the host 
is good in my sight, for I have not found evil in thee 
since the day of thy coming unto me unto this day: 
nevertheless the lords favor thee not. Wherefore now 
return and go in peace, that thou displease not the lords 
of the Philistines. 


Davip: But what have I done? And what hast thou found 
in thy servant so long as I have been with thee, unto this 
day, that I may not go fight against the enemies of my 
lord, the king? 


AcuisH: I know that thou art good in my sight, as an angel 
of God; notwithstanding the princes of the Philistines 
have said, He shall not go up with us to the battle. 
Wherefore now rise up early in the morning, with thy 
master’s servants that are come with thee: and as soon 
as ye be up early in the morning, and have light, depart. 


Davin bows and departs. Acuisx looks after him sadly, 
then turns and goes out. 


182 DAVID AND JONATHAN SCENE V 


Reaver: So David and his men rose up early to depart in the 
morning, to return into the land of the Philistines. And 
he returned on the way to Ziklag. 


CuRTAIN. 


SCENE V. OUTSIDE OF ZIKLAG 
Enter Davin and three of his young men. 


Warrior: Behold how the Amalekites have been here before 
us and smitten Ziklag and burned it with fire! 


Another Warrior enters breathlessly and throws himself 
before Davin’s feet. 


Warrior: My lord, the Amalekites have taken the women cap- 
tives, that were therein. They slew not any, great or 
small, but carried them away. 

Davin [Gazing out toward the back]: The city is burned 
with fire! And my wives and my sons and daughters are 
taken captive. Woe! Woe! Woe! Send hither Abiathar 
the priest! 


The Priest enters. 


Davin: I pray thee, bring me hither the ephod. 

Reaper: And Abiathar brought thither the ephod to David. 
[He brings the ephod and holds it out as Davin gazes 
down at the precious stones wpon the shield. | 


Davin: Shall I pursue after this troop? Shall I overtake 
them? 


AstaTHar: The Lord saith, Pursue: for thou shalt surely over- 
take them, and without fail recover all. 


SCENE V DAVID AND JONATHAN 183 


Davip: Summon the six hundred men. We will go to the 
brook Besor where those of my men that were faint have 
stayed to rest. 


Servant [Entering and bowing]: My lord, we have found an 
Egyptian in the field. 


Davin: Bring him to me. [The Servant enters with the 
Eeyptian lad| To whom belongest thou? and whence 
art thou? 


EeyptTian: I am a young man of Egypt, servant to an 
Amalekite; and my master left me, because three days 
agone I fell sick. [Staggering and leaning against the 
wall as tf he were about to fat] And I have eaten no 
bread nor drunk any water for three days and three 


nights. 


Davin [T'o the Srrvanr]: Give him a piece of a cake of figs 
and two clusters of raisins. 


The Servant brings food and water. 
Servant: Drink this water. 


Keyrrtian [Drinking]: I thank thee. Now my spirit cometh 
again. 


Davip: Now tell me how far the Amalekites have invaded the 
land. 


Keyrti1an: We made an invasion upon the south of the Chere- 
thites, and upon the coast which belongeth to Judah, and 
upon the south of Caleb; and we burned Ziklag with fire. 


Davin: Canst thou bring me down to this company? 


EeryptTian: Swear unto me by God, that thou wilt neither 
kill me, nor deliver me into the hands of my master, and 
I will bring thee down to this company. Behold, they 
spread abroad upon all the earth, eating and drinking, 
and dancing, because of all the great spoil that they 


184 DAVID AND JONATHAN SCENE VI 


have taken out of the land of the Philistines, and out of 
the land of Judah. 


Davin: I will smite them from the twilight unto the evening 
of the next day: and there shall escape not a man of 
them. And I will recover all that the Amalekites have 
carried away, and I will rescue my wives. And there 
shall be nothing lacking to them, neither sons nor daugh- 
ters, neither spoil, nor any thing that they have taken to 
them. 

CuRTAIN. 


SCENE) VI. A FIELD 


Davin: Let us abide here for two days that the young men 
may now rest after the battle of the Amalekites. For 
the Lord hath preserved us and delivered the company 
that came against us into our hands. And I will send 
of the spoil unto the elders of Judah, even to my friends— 
behold, it is a present for them of the spoil of the enemies 
of the Lord. 


Servant: My lord, a man cometh out of the camp from 
Saul with his clothes rent and earth upon his head. 


Davin: Bring him hither quickly. 


The Servant brings in a man who falls to the earth be- 
fore Davin. 


Davin: From whence comest thou? 
Youne Man: Out of the camp of Israel am I escaped. 
Davin: How went the matter? I pray thee, tell me. 


Younc Man: The Philistines fought against Israel: and the 
men of Israel fled from before the Philistines, and fell 
down slain in Mount Gilboa. And the Philistines fol- 
lowed hard upon Saul and upon his sons; and the battle 


SCENE VI DAVID AND JONATHAN 185 


went sore against Saul. The people are fled from the 
battle, and many of the people also are fallen and dead: 
and Saul and Jonathan his son are dead also. 


Davin [Starting back]: How knowest thou that Saul and 
Joucthan his son are dead? 


Youne Man: As I happened by chance upon Mount Gilboa, 
behold, Saul leaned upon his spear; and, lo, the chariots 
and horsemen followed hard after him. And when he 
looked behind him, he saw me, and called unto me. And 
I answered, Here am I. And he said unto me, Who art 
thou? And I answered him, I am an Amalekite. He 
said unto me again, Stand, I pray thee, upon me and 
slay me, for anguish is come upon me, because my life 
is yet whole in me. So I stood upon him, and slew him, 
because I was sure that he could not live after that he 
was fallen: and I took the crown that was upon his head, 
and the bracelet that was on his arm, and have brought 
them hither unto my lord. 


Soft music, Ave Maria. 


Daviv: We will mourn [Rending his clothes and lifting his 
arms to heaven in despair| and weep, and fast until even, 
for Saul, and for Jonathan his son, and for the people of 
the Lord, and for the house of Israel; because they are 
fallen by the sword. [Turning to the Youne Man] 
Whence art thou? 


The music ceases. 


Younc Man: I am the son of a stranger, an Amalekite. 


Davin: How wast thou not afraid to stretch forth thine hand 
to destroy the Lord’s anointed? Thy blood be upon thy 
head; for thy mouth hath testified against thee, saying, 
I have slain the Lord’s anointed. [Calling to servant | 
Go near, and fall upon him. 


186 DAVID AND JONATHAN SCENE VI 


The Youne Man flees from the pursuing SERVANT. 
Soft music, Ave Maria, to the end. 


Davin: Weep, O Judah. Grieve, O Israel. The beauty of 
Israel is slain upon the high places. How are the 
mighty fallen! ‘Tell it not in Gath, publish it not in the 
streets of Askelon; lest the daughters of the Philistines 
rejoice, lest the daughters of the uncircumcised triumph. 

Ye mountains of Gilboa, let there be no dew, neither let 
there be rain, upon you, nor fields of offerings: for there 
the shield of the mighty is vilely cast away, the shield 
of Saul, as though he had not been anointed with oil. 

From the blood of the slain, from the fat of the mighty, 
the bow of Jonathan turned not back, and the sword of 
Saul returned not empty. 

Saul and Jonathan were lovely and pleasant in their 
lives, and in their death they were not divided: they were 
swifter than eagles, they were stronger than lions. 

Ye daughters of Israel, weep over Saul, who clothed you 
in scarlet, with other delights; who put on ornaments of 
gold upon your apparel. | 

How are the mighty fallen in the midst of the battle! 
O Jonathan, thou wast slain in thine high places. I am 
distressed for thee, my brother Jonathan: very pleasant 
hast thou been to me: thy love to me was wonderful, pass- 
ing the love of women. 

How are the mighty fallen, and the weapons of war 
perished ! 


Davin stands with arms uplifted in lamentation. 


CuRTAIN. 


ELIJAH AND ELISHA 


CHARACTERS 


Part 1 


ELisAH 

THe Wipow 

Tue Wipow’s Littie Son (three or four years old) 
Auas, King of Israel 

OsapiaH, the Governor of AHAB’s House 

A Group or ISHMAELITES 

Five Propuets or Baa 

Evigan’s SERVANT 

AN ANGEL 


Part 2 


Eisau 

Tue Voice or THE LorpD 
First Man 

Seconp Man 

THREE SONS OF THE PROPHETS 


Part 3 


NaaMANn’s WIFE 

Tue Lirrie IsrartitisH Maipen 

Naaman, Captain of the Host of the King of Syria 
A Servant oF NAAMAN 

AN OrFicer, NAAMAN’s soldier 

Tue Kine or Syria 

Tue Kine or Israri 

OTHER SERVANTS OF THE KINGS 


ELIJAH AND ELISHA 


PART 1. THE MIRACLES OF ELIJAH 


Scene I. Berore THE HovseE or THE Wipow oF 
ZAREPHATH. 

Scene II. Same as Scene I. 

ScenE III. Anas’s THrone Room 

Scene IV. Aw Attar veon Mr. CarMEtL, - 

Scene V. Tue Tor or Mt. CarMet 

Scene VI. Tue WILDERNESS 


PART 2. ELIJAH AND ELISHA 


Scene I. Tue Top or Mr. Carmen 

Scene II. On tue Way to BerHent (BEFrorE THE 
CurTAIN) 

Scene III. On tue Way to JericHo (BEFoRE THE 
CuRTAIN ) 

Scene IV. Bryonp Jorpan 

Scene V. Besipe a WELu at JERICHO 


PART 3. THE HEALING OF NAAMAN 


Scene I. IN tHe Hovusz or NAAMAN 

Scene II. Tue Avupience CHAMBER OF THE KING OF 
SYRIA 

Scene III. Tue Aupience CHAMBER OF THE KING OF 
IsRAEL 

Scene IV. Berore tue Hovse or E visHa 


Scene V. BeErForE THE House or ELISHA 
189 


190 ELIJAH AND ELISHA 


The scenes in the palaces of Ahab, the King of Syria, and the 
King of Israel, are made effective by bright draperies of silk or 
velvet or rich oriental materials. The throne can be a carved chair 
placed upon a table which is covered with an oriental rug. A 
bench, covered with a rug, will form the steps to the throne. Tall 
candlesticks, a brazier in which fire is burning, and a few other 
brass ornaments will give atmosphere and variety to the scenes. 

For a description of how to make the well in the fifth scene, Part 
2, see the paragraph, “Practical Suggestions,’ in the introduction. 

The scenes before the houses of the Widow and of Elisha can be 
represented by soft gray or brown draperies for the background, 
with a doorway at the back. An oriental drapery is hung across 
the entrance to the house. 

These soft background draperies can also serve for all the out- 
door scenes, with the addition of two or three small pine or hemlock 
trees at the sides. 

The altar on the top of Mt. Carmel can be made with smooth 
rocks piled around and on top of small sacks of sand. This will 
give height to the altar without the necessity of using so many 
stones. When it has been broken down by the wild dance of the 
priests of Baal, Elijah can rebuild it with the twelve stones only, 
and place the bags around about it to represent the trench. Have 
a strong electric light ready at one side to throw directly upon the 
altar when the fire of the Lord descends upon it. 

It is important to keep the scenes simple enough to enable you to 
make the changes from one to the other without long pauses. The 
lights in the church should be kept low and soft music be played 
between the scenes so as not to break the atmosphere of reverence 
and quiet that has been created. It is most important that the stage 
management should be as artistically handled as the rest, and that 
everything should move smoothly and quietly without delay or noise 
behind the curtain during the changing of the scenes. 


ELIJAH AND ELISHA sey 


MUSIC 


Parr I 


The Miracle of the Cruse of Oil . . . “He shall feed His flock 
like a shepherd,” from Handel’s Messiah (organ). 

Raising the Widow’s Son ... Song Without Words (Cradle 
Song), Opus 67, No. 6, by Mendelssohn (Victrola, or organ, or 
violin). 

Baal Music . . . “Baal we cry to thee!” (No. 11) from the Ora- 
torio of Elijah, by Mendelssohn (the Oliver Ditson Edition). 
(Chords on the organ from the first two pages of the selection. ) 

Elijah Repairing the Altar Theme . . . “Holy, holy is the Lord” 
(No. 35), from Elijah. (Chords on the organ from the first two 
pages of the selection.) 

Hlijah’s Prayer Theme . . . “Lord God of Abraham” (No. 14), 
from Elijah. (Chords on the organ from this selection.) 

The Fire Theme .. . “The Fire descends from Heaven” (No. 
16), from Elijah. (A part of this selection on the organ with cym- 
bals to emphasize the crescendos.) 

The Prophet’s Reply . . . “The Lord is God” (soft chords from 
the last part of No. 16). 

Elijah’s Prayer for Rain . . . A Part of No. 19, beginning with 
chords, “Then hear from heaven,” and continuing into the cloud 
theme. 

Angel in the Wilderness Theme . . . The Christmas Song, by 
Adolphe Adam (Victrola or organ). 


Part 2 


On the Mount before the Lord . . . Storm Music, from the Wil- 
liam Tell Overture, Part II (Victrola). 

The Parting of Elijah and Elisha Theme . . . Largo from the 
New World Symphony, by Dvorak (Victrola). 


Parr 3 
The Little Maid Theme . . . Deep River (Negro Melody), by 


192 . ELIJAH AND ELISHA 


Maud Powell (Victrola). Or the first part of the Nocturne (Opus 
37, No. 21) by Chopin (organ) as a second choice. 

King of Syria Court Music . . . Deep River, using the climax 
in the middle as the King speaks. 

King of Israel Court Music ... Deep River, using again the 
climax in the middle as the King rends his clothes and speaks in 
despair. 

The Healing of Naaman Theme . .. The Nocturne by Chopin 
(the soft chords in the second part). 


ELIJAH AND ELISHA 


SCENE I. BEFORE THE HOUSE OF THE WIDOW OF 
ZAREPHATH 


There is a curtained door at the back. 


Reaver: And Elijah the Tishbite, who was of the inhabitants 
of Gilead, said unto Ahab, King of Israel, . 
As the Lord God of Israel liveth, before whom I stand, 
there shall not be dew nor rain these years, but accord- 
ing to my word. 
And the word of the Lord came unto him saying, Get 
thee hence, and turn eastward, and hide thyself by the 
brook Cherith, that is before Jordan. And it shall be, 
that thou shalt drink of the brook; and I have com- 
manded the ravens to feed thee there. So he went and 
did according unto the word of the Lord: for he went 
and dwelt by the brook Cherith, that is before Jordan. 
And the ravens brought him bread and flesh in the morn- 
ing, and bread and flesh in the evening; and he drank 
of the brook. And it came to pass after a while, that 
the brook dried up, because there had been no rain in 
the land. And the word of the Lord came unto him, 
saying, Arise, get thee to Zarephath, which belongeth to 
Zidon, and dwell there: behold, I have commanded a 
widow woman there to sustain thee, 


The curtam parts. 
A woman is gathering sticks as Ex1sau enters, while her 
little son is playing on the ground by her door. 

193 


194 ELIJAH AND ELISHA SCENE I 


Reaver: So he arose and went to Zarephath. And when he 
came to the gate of the city, behold, the widow woman 
was there gathering of sticks: and he said: 


E1isan: Fetch me, I pray thee, a little water in a vessel, 
that I may drink, and bring me, I pray thee, a morsel 
of bread in thine hand. 


Wipow: As the Lord thy God liveth, I have not a cake, but 
a handful of meal in a barrel, and a little oil in a cruse: 
and, behold, I am gathering two sticks, that I may go 
in and dress it for me and my son, that we may eat it, 
and die. 


Evisau: Fear not; go and do as thou hast said: but make me 
thereof a little cake first, and bring it unto me, and after 
make for thee and for thy son. 


Wivow [In awe]: Who art thou? 


Euisan: I am Elijah the Tishbite. For thus saith the Lord 
God of Israel, The barrel of meal shall not waste, neither 
shall the cruse of oil fail, until the day that *the Lord 
sendeth rain upon the earth. 


Wipow: The prophet of the Lord! I will go and do accord- 
ing to the saying of Elijah. [She enters the house. | 
Soft music, He Shall Feed His Flock, to the end. 


Exvisan walks to and fro with folded arms as if in medi- 
tation until the Wivow reappears holding out a cruse 
of oil im astonishment. 


Behold! I have taken oil and meal for the cakes, and, lo, 
there is more in the cruse! 
E1isau: The Lord will give thee all that thou needeth! 


Winow [Throwing herself at his feet]: Abide with us, for 
thou art indeed a man of God. 


CuRTAIN. 


SCENE II ELIJAH AND ELISHA 195 


Reaper: And the widow and Elijah and her house did eat 
many days, and the barrel of oil wasted not, neither did 
the cruse of oil fail, according te the word of the Lord, 
which he spake by Elijah. 


The music grows louder and continues until the Wivow 
speaks in Scene II. 


SCENE II. OUTSIDE THE WIDOW’S HOUSE (Same as 
Scene I) 


Euisau ts seated. The Wivow suddenly enters carrying 
her child in her arms. 


The music ceases. 


Wivow [In great distress|: Behold, my son hath fallen sick, 
and his sickness is so sore that there is no breath left 
in him. What have I to do with thee, O thou man of 
God? Art thou come unto me to call my sin to remem- 
brance, and to slay my son? 


Soft music, Cradle Song. 
Evisau: Peace, be not afraid! 


Evian enters the house and remains within while the 
music rises to a clumax of pathos, then reappears with a 
pallet. He unrolls it upon the ground. 


E1isau: Give me the child. 


He lays the child upon the pallet and stands beside him 
with arms upraised m prayer. 


Time this so that Exisan’s prayer begins where the music 
becomes softer. 


196 


ELIJAH AND ELISHA SCENE II 


O Lord my Ged, hast thou also brought evil upon the 
widow with whom I sojourn, by slaying her son? [He 
kneels beside the child and holds his hands over him— 
lifts them to heaven—and again holds them over the child 
three times. | 

O Lord my God, I pray thee, let this child’s soul come 


into him again, 


Reaper: And the Lord heard the voice of Elijah; and the 


soul of the child came into him again, and he revived. 


The little child stirs and holds up his arms to E1isan. 
He lifts him mm his arms and carries him to his mother. 


Exiszau: Thy son liveth. 
Wipow: Now by this I know that thou art a man of God, and 


that the word of the Lord in thy mouth is truth. 
CurRTAIN. 


The Cradle Song continues until the curtain parts for 
Scene III. 


SCENE III. AHAB’S THRONE ROOM 


Reaper: And it came to pass, after many days, that the 


word of the Lord came to Elijah in the third year, say- 
ing, Go shew thyself unto Ahab; and I will send rain 
upon the earth. And Elijah went to shew himself unto 
Ahab. And there was a sore famine in Samaria. And 
Ahab called Obadiah, which was the governor of his house. 
Now Obadiah feared the Lord greatly: 


The curtain parts. 


Anas ts seated wpon his throne. Oxnapian stands before 


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SCENE III ELIJAH AND ELISHA 197 


Anas: Go into the land, unto all fountains of water, and 
unto all brooks: peradventure we may find grass to save 
the horses and mules alive, that we may lose not all the 
beasts. Divide the land between us to pass through it. 
I shall go one way, and thou, Obadiah, shalt go another 
way. 

Oxzaptau bows to the king. Auaz rises and departs, and 
Ozapian moves toward the left. Exisau suddenly enters 
and confronts him. 


Reaver: And as Obadiah was in the way, behold, Elijah met 
him: and he knew him, and fell on his face, and said, 


OsaniaH [Kneeling before Exisan with his face to the ground |: 
Art thou that my lord Elijah? 


Evisan: I am: go, tell thy lord, Behold, Elijah is here. 


Osapian: What have I sinned, that thou wouldst deliver thy 
servant into the hand of Ahab, to slay me? As the Lord 
thy God liveth, there is no nation or kingdom whither 
my lord hath not sent to seek thee: and when they said, 
He is not there; he took an oath of the kingdom and 
nation, and they found thee not. And now thou sayest, 
Go, tell thy lord, Behold, Elijah is here. And it shall 
come to pass, as soon as I am gone from thee, that the 
Spirit of the Lord shall carry thee whither I know not; 
and so when I come and tell Ahab, and he cannot find 
thee, he shall slay me: And now thou sayest, Go, tell 
thy lord, Behold, Elijah is here: and he shall slay me. 


Euisan: As the Lord of hosts liveth, before whom I stand, I 
will surely shew myself unto him to-day. 


OpapiaH: Remain thou here until I bring word unto the 
king. 
OxsapiaH departs. 


Reaper: So Obadiah went to meet Ahab, and told him: and 
Ahab went to meet Elijah. [Anan enters and stands look- 


198 ELIJAH AND ELISHA SCENE IV 


ing at Exisan] And it came to pass when Ahab saw 
Elijah, that Ahab said unto him, 


Anas: Art thou he that troubleth Israel? 


Euisan [Pointing sternly at Anan]: I have not troubled 
Israel; but thou, and thy father’s house, in that ye have 
forsaken the commandments of the Lord, and thou hast 
followed Baalim. Now therefore send, and gather to me 
all Israel unto Mount Carmel, and the prophets of Baal, 
and the prophets of the groves, which eat at Jezebel’s 
table. 7 


AnAB turns in silence and departs, as the prophet stands 
with folded arms. 


CuRTAIN. 


SCENE IV. AN ALTAR UPON MT. CARMEL 


An altar made of a circle of large stones stands in the 
center. A group of Israelites are grouped at one side. 
Fie prophets of Baal are talking among themselves near 
the altar. Eisau enters and speaks with uplifted hand. 


Reaver: So Ahab sent unto all the children of Israel, and 
gathered the prophets together unto Mt. Carmel. 


Exvisan: How long halt ye between two opinions? If the 
Lord be God, follow him: but if Baal, then follow him. 


Reaver: Then said Elijah unto the people, 


E1isan: I, even I only, remain a prophet of the Lord; but 
Baal’s prophets are four hundred and fifty men. Let 
them therefore give us two bullocks; and let them choose 
one bullock for themselves, and cut it in pieces, and lay 
it on wood, and put no fire under: and I will dress the 
other bullock, and lay it on wood, and put no fire under. 


SCENE IV ELIJAH AND ELISHA 199 


The prophets nod in agreement and begin to pile wood 
upon the altar. 


And call ye on the name of your gods, and J will call 
on the name of the Lord: and the god that answereth by 
fire, let him be God. 


Propte: It is well spoken. 


Euisau: O prophets of Baal, choose you one bullock for your- 
selves, and dress it first; for ye are many; and call on 
the name of your gods, but put no fire under. 


Reaper: And they took the bullock which was given them, 
and they dressed it, and called on the name of Baal from 
morning even until noon, saying: 


Baal music. 


Proruets: O Baal, hear us. [The Proruets of Baal place 
meat upon the wood of the altar and then begin to shout, 
lifting their arms to heaven] Baal, we cry to thee! Baal, 
we cry to thee. [They bow to the ground and sway as 
they move around the altar, lifting their arms as they 
cry aloud. Some may clash timbrels in tume with the 
rhythm. | 


Ball, we cry to thee! Hear us, O Baal! 
Stormy chords of the Baal theme. 


Euisan [Standing with folded arms on the left, and speaking 
in mocking tones|: Cry aloud: for he is a god; either 
he is talking, or he is pursuing, or he is in a journey, or 
peradventure he sleepeth and must be awaked. 

Prorue: Baal, hear us, Baal. Where art thou? Baal! Baal! 


[They tear down the altar and scatter the wood and 
stones as the people cry out in derision at them. | 


200 


ELIJAH AND ELISHA SCENE IV 


The music ceases with a crash. 


Evisau steps forward lifting his arms to quiet them as 
he speaks. The Propuets draw about him. 


Soft chords from No. 35, Elijah, “Holy, Holy Is the 
Lord.” 


ExisaH: Come near unto me. See, I will repair the altar 


of the Lord that is broken down, and I will take twelve 
stones according to the number of the tribes of the sons 
of Jacob. [He makes a circle of twelve stones| And I 
will build an altar in the name of the Lord, and make a 
trench about the altar. 


He arranges the wood and the meat. 


And I will put the wood in order and lay the pieces of 
the bullock thereon. Now, ye prophets of Baal, fill the 
barrels with water and pour it on the burnt sacrifice and 
on the wood. 

They bring in buckets and apparently pour water into the 
trench. 

Do it the second time! [The Proruets do as Evisan 
commands| Do it the third time! Behold, even the 
trench is filled with water! It now draweth near the 
time of the offering of the evening sacrifice! 


The music ceases. 


Evisau stands before the altar with head bowed in prayer, 
then lifts his arms above his head. 


Soft chords from No. 14, Elijah, “Lord God of Abra- 


ham.” 


Lord God of Abraham, Isaac and of Israel, let it be 
known this day that thou art God in Israel, and that I 
am thy servant, and that I have done all these things at 


SCENE IV ELIJAH AND ELISHA 201 


thy word. [Pause] Hear me, O Lord, hear me, that this 
people may know that thou hast turned their heart back 
again. 


A shaft of light suddenly shines upon the altar, and lights 
flash out from under the wood. All the Israelites fall on 
their faces in worship as the prophets of Baal draw 
back in awe. The music bursts into triumphant strains. 


Chords from No, 16, Elijah, “The Fire Descended from 
Heaven.” 


Reaper: Then the fire of the Lord fell, and consumed the 
burnt sacrifice, and the wood, and the stones, and the dust, 
and licked up the water that was in the trench. 


The music suddenly changes to the soft chords (page 81), 
which accompany these words. 


Prorte: The Lord, he is the God; the Lord he is the God. 


The music continues for a moment, then ceases, as 
Evisan speaks. 


Exiszan: Take the prophets of Baal; let not one of them 
escape. 


The Israelites encircle the Prorurts of Baal and force 
them out. Eisau suddenly turns to Anan. 


Soft chords are heard again and continue to the end. 


Enisau: Ahab, get thee up, eat and drink, for there is a sound 
of abundance of rain. 


Aus [Falling on his face before Exisan]: Thy Lord is the 
God! 


CurTAIN. 


202 ELIJAH AND ELISHA SCENE V 


SCENE V. THE TOP OF MT. CARMEL 


Soft chords, a part of No. 19, begining on page 93. 


“Then Hear from Heaven.” 


Euan and a sercant enter. Exisan casts himself upon 
the ground with his head bowed upon his knees m utter 
dejection. 


Reaper: And Elijah went up to the top of Mt. Carmel; and 
he cast himself down upon the earth, and put his face 
between his knees. 


Euisan [Looking up at his servant |: Go up now, look toward 
the sea. 


The servant goes to the back and looks out over the 
valley. 


Servant: There is nothing. 


Ex1san: Go again, seven times. [The servant goes out. | 


A pause. The music takes up the cloud theme (pages 
94-96). 


Reaper: And it came to pass at the seventh time that he said: 


Servant [Returning quickly]: Behold, there ariseth a little 
cloud out of the sea, like a man’s hand. 


Evizan [Suddenly rising]: Go up, say unto Ahab, prepare 
thy chariot, and get thee down, that the rain stop thee 
not, for the heaven is black with clouds and wind and 
there is a great rain. 


Exian stands triumphant as the music continues the 
cloud theme. After a pause a servant enters hurriedly. 
The music ceases. 


SCENE VI ELIJAH AND ELISHA 203 


Servant: Ahab hath told Jezebel all that Eli jah hath done, 
and withal how he hath slain all the prophets with the 
sword. So Jezebel hath sent a messenger unto Elijah, 
saying, So let the gods do to me, and more also, if I make 
not thy life as the life of one of them by to-morrow about 
this time. [Servant departs. ] 


Eniszan: Come! [His servant steps to his side| I must arise 
and flee for my life. We will go to Beer-Sheba which 
belongeth to Judah. And I will leave thee there, for I 
must go a day’s journey into the wilderness. [They 
depart. | 


CuRTAIN. 


SCENE VI. THE WILDERNESS 


Reaper: And he went a day’s journey into the wilderness, 
and came and sat down under a juniper tree, and he re- 
quested for himself that he might die, and said, 


Evisau: It is enough; now, O Lord, take away my life; for I 
am not better than my fathers. [He sinks to the ground 
im despair and sleeps. | 


Soft music, the Christmas Song, to the end. 


Reaper: And as he lay and slept under a juniper tree, behold, 
then an angel touched him, and said unto him, © 


An angel appears from behind the tree. He places a cake 
and a cruse of water beside him and touches him gently. 


ANGEL: Arise and eat. 


Evian turns slowly and gazes at the angel. The angel 
points to the cruse of water, and then disappears. 


204 ELIJAH AND ELISHA SCENE VI 


Reaper: And he looked and behold there was a cake baken 
on the coals and a cruse of water at his head, and he 
did eat and drink and laid him down again. 


Euan drinks of the water and takes the cake in his hand. 
And the angel of the Lord came again the second time- 
and touched him and said: 


Ancet [Suddenly appearing and touching him upon the 
shoulder]: Arise and eat, because the journey is too 
great for thee. [Thé angel departs. | 


E1isan slowly rises and stands with the cruse in his hands, 
gazing after the vanished angel. 


Reaper: And he arose and did eat and drink, and went in the 
strength of that meat forty days and forty nights unto 
Horeb the mount of God. 


CuRTAIN. 


Part 2 
SCENE I. THE TOP OF MT. CARMEL 


Reaver: And, behold, the word of the Lord came unto Elijah, 
and he said unto him: 


Euisan enters and stands facing the left. 


Voice: What doest thou here, Elijah? 


Esau: I have been very jealous for the Lord God of hosts: 
for the children of Israel have forsaken thy covenant, 
thrown down thine altars, and slain thy prophets with 
the sword; and I, even I only, am left; and they seek 
my life, to take it away. 

Voice: Go forth and stand upon the mount before the Lord. 


[E1isan steps forward and stands looking out at the 
side. A pause. ] 


The Storm Music is heard. 
The scene grows dark, with sudden flashes of light. 


Reaver [As the music rises to its first climax]: And, behold, 
the Lord passed by, and a great and strong wind rent 
the mountains, and brake in pieces the rocks before the 
Lord: [Pause] but the Lord was not in the wind: [| Pause | 
and after the wind an earthquake; but the Lord was not 
in the earthquake; [Pause until the music grows quieter |. 
And after the earthquake a fire, [Pause] but the Lord 
was not in the fire: and after the fire a still small voice. 


A pause until the storm music is finished and ends in soft 
high notes. Eisan wraps his face in his mantle. 
205 


206 ELIJAH AND ELISHA SCENE I 


Voice [Low]: What doest thou here, Elijah? 


Exisau [Standing with his back to the audience]: I have 
been very jealous for the Lord God of hosts: because the 
children of Israel have forsaken thy covenant, thrown 
down thine altars, and slain thy prophets with the sword ; 
and I, even I only, am left; and they seck my life, to take 
it away. 

Voice: Go, return on thy way to the wilderness of Damascus: 
and when thou comest, anoint Hazael to be king over 
Syria: And Jehu the son of Nimshi shalt thou anoint 
to be king over Israel: and Elisha the son of Shaphat 
of Abel-meholah shalt thou anoint to be prophet in thy 
room. And it shall come to pass, that him that escapeth 
the sword of Jehu shall Elisha slay. Yet I have left me 
seven thousand in Israel, all the knees which have not 
bowed unto Baal, and every mouth which hath not kissed 
him. 


The last half of the Storm Mustc is again heard as E11san 
stands with his head bowed in prayer. The music ceases. 


A man enters on the right. Eisan turns slowly and 
gazes at hum. 


There is a pause, then Morning (Peer Gynt) is heard. 
Euisau: Art thou Elisha the son of Shaphat? 


Euisoa: I am he. 


Exisan slowly takes off his mantle and puts it wpon him. 
When the music rises to a climax EisHa speaks. 


Euusua [Kneeling]: Let me, I pray thee, kiss my father and 
my mother and then I will follow thee. 


Exisau: Go back, for what have I done to thee? 


Exiszau departs. 


SCENE II ELIJAH AND ELISHA 207 


Eutsua: I will take my yoke of oxen and slay it and give unto 
the people to eat. Then I will arise and go after Elijah 
and minister unto him. 


CurRTAIN. 


The music ceases—there is a short pause, then—The 
Largo from the New World Symphony is softly played to 
the end of Part 2. The music grows louder between the 
scenes. 


SCENE II. ON THE WAY TO BETH-EL (Before the Curtain) 
Euisau and Euvisua enter on the right. 


Reaper: And it came to pass, when the Lord would take up 
Elijah into Heaven by a whirlwind, that Elijah went 
with Elisha from Gilgal. 


Euisau: Tarry here, I pray thee: for the Lord hath sent me 
to Beth-el. 


Exisua: As the Lord liveth, and as thy soul liveth, I will not 
leave thee. 


Reaver: So they went down to Beth-el. 


They move toward the left. Three young men appear on 
left. 
Men: We are the sons of the prophets that were at Beth-el. 


Seconp Man [7'o Exisua]: Knowest thou that the Lord will 
take away thy master from thy head to-day? 


Euisua: Yea, I know it—hold your peace. 


Euisan [Turning to Exisna]: Tarry here, I pray thee, for 
the Lord hath sent me to Jericho. 


208 ELIJAH AND ELISHA SCENE III 
Exasra: As the Lord liveth and as my soul liveth, I will not 
leave thee. [They depart together. } 


Reaver: So they went on. 


SCENE III. ON THE WAY TO JERICHO (Before the 
Curtain) 


Evian and Evisua enter on the right. 
Soft music (Largo) to the end of Scene V. 
Exisan: Yonder is Jericho. 
Three young men enter on the left. 
Reaper: And the sons of the prophets that were at Jericho 


came to Elisha and said unto them: 


Younc Man: Knowest thou that the Lord will take away thy 
master from thy head to-day? 


Exisua: Yea, I know it; hold ye your peace. 


Exisan: Tarry, I pray thee, here; for the Lord hath sent me 
to Jordan. 


Euisua: As the Lord liveth, and as thy soul liveth, I will not 
leave thee. [They move toward the left. ] 


Reaper: And they two went on. And they stood by Jordan. 
The young men stand gazimg after them. 


Exisau pauses at the left, wraps his mantle together, and 
smites the ground. 


Reaper: And Elijah took his mantle and wrapped it together 
and smote the waters. 

Exnisan: Let the waters of the Jordan be divided! 

Man: Behold! The waters are rolled back! 


SCENE Iv ELIJAH AND ELISHA 209 
Evisan and Exisua depart on the left. 


Second Man [Gazing after them]: Lo, Elijah and Elisha are 
passing through the river on dry ground! 


CuRTAIN. 


SCENE IV. BEYOND JORDAN 


Evivan and Euisua enter on the right. 


Exisan: Ask what I shall do for thee, before I be takea away 
from thee. 


Evisua [Kneeling]: I pray thee, let a double portion of thy 
spirit be upon me. 


Eisau: Thou hast asked a hard thing: nevertheless, if thou 
see me when I am taken from thee, it shall be so unto 
thee; but if not, it shall not be so. 


Reaper: And it came to pass, as they still went on, and 
talked, that behold, there appeared a chariot of fire, and 
horses of fire, and parted them both asunder; and Elijah 
went up by a whirlwind into heaven. 


The Largo swells into triumphant strains. 


A shaft of light is suddenly thrown across the platform 
onto Exisau. He lifts his arms toward the right and 
slowly walks up the pathway of light, until he disappears 
on the left. His robe falls from his shoulders just before 
he steps out of sight. 


Exisua [ending his clothes as he gazes up to heaven|: My 
father, my father, the chariot of Israel, and the horsemen 
thereof ! 


Reaper: And he took hold of his own clothes, and rent them 
in two pieces. [Enisua silently picks wp Exisaw’s gar- 


210 ELIJAH AND ELISHA SCENE V 


ment | He took up also the mantle of Elijah that fell from 
him, and went back, and stood by the bank of Jordan. 


Euisua departs with bowed head. 


CuRTAIN. 


SCENE V. BESIDE A WELL AT JERICHO 


There is a well on the right. Eisua enters on the left, 
the sons of the prophets on the right. 
Man [Bowing low]: The spirit of Elijah doth rest on Elisha. 


Youne Man: Behold now, there be with thy servants fifty 
strong men; let them go, we pray thee, and seek thy 
master; lest peradventure the Spirit of the Lord hath 
taken him up, and cast him upon some mountain, or into 
some valley. 


Eisua: Ye shall not send. 
Seconp Man: Let us seek him, I pray thee. 


EuisHa: Send. 
He seats himself beside the well as the men depart. 
The music, Largo, grows louder. 


Eisua is still seated on the rock by the well as the men re- 
enter on the left. 


Younc Man: We have searched for Elijah three days, but we 
have found him not. 


Euisua: Did I not say unto you—Go not? 


A man enters and bows to E1isHa. 


SCENE V ELIJAH AND ELISHA 211 


Man: Behold, I pray thee, the situation of the city is pleasant 
as my Lord seeth, but the water is naught, and the ground 
is barren. 

Eisua: Bring me a new cruse and put salt therein. 


They bring the cruse to him. Exisua rises and stands 
over the well. 


Euisua: Thus saith the Lord, I have healed these waters; 
there shall not be from thence any more death or barren 


land. 
He casts the salt into the well. 

Reaver: So the waters were healed unto this day, according 
to the saying of Elisha which he spake. 


Man [Dipping some water up in his hand]: Lo, the waters 
are healed! [Falling at Eisua’s feet] Abide here with 
us, thou man of God. 


Exisna: Nay, I must go up unto Beth-el. 


Reaper: So the waters were healed unto this day, according 
to the saying of Elisha which he spake. 


CuRTAIN, 


Parr III 
SCENE I. IN THE HOUSE OF NAAMAN 


NaaMan’s wife is reclining upon a richly draped couch. 
A little maid is seated on the floor at her feet fanning her 
with a tall peacock feather fan. 


Reaper: Now Naaman, captain of the host of the King of 
Syria, was a mighty man in valor—but he was a leper. 


Naaman enters leaning upon the arm of a servant. He 
stands at a distance lifting one hand in salutation to his 
wife. 


Naaman’s Wire [Half rising]: How art thou, my lord? 


Naaman: Nay, do not ask me, for thou knowest what grievous 
affliction is upon me. [He simks into a chair. | 


Naaman’s Wire [Rising and ringing her hands in despair]: 
And thou, the captain of the host of the King of Syria! 
And thou art a great man with thy master, and honor- 
able, because by thee the Lord hath given deliverance unto 
Syria—and yet is there no one in all of Syria that can 
heal thee of this leprosy! [She holds out her hands toward 
Naaman. | 


Naaman [ Rising and shrinking away from her|: Have a care! 
Do not touch me! Thou knowest that there is none to 
heal me. [Rousing himself from his despair| But let us 
not speak of this longer. How doeth the little maid that 
my armies brought away captive out of the Land of 
Israel? [The maiden rises and stands behind her mistress’ 
couch in embarrassment. | 


Naaman’s Wire: She waiteth well upon me, my lord. 
212 


SCENE II ELIJAH AND ELISHA 213 


Naaman: It pleaseth me to hear it. [To his servant who is 
standing just back of his chair] Come, I must return unto 
my own chambers. 


A soldier appears and stands at attention by the doorway 
until after Naaman has departed. 


Soft music, Deep River or Nocturne (first part), until 
the curtain parts for Scene II. 


Lirrie Marp [Running eagerly to her mistress and kneeling 
at her feet|: Would God my lord were with the prophet 
that is in Samaria. 


Naaman’s Wire [In surprise]: What meanest thou? 
Matpen: For he would recover him of his leprosy! 
Naaman’s Wire: Who is this prophet? 


Maipen: Elisha is his name, and he doth cure all manner of 
diseases, and he even hath raised from the dead the son of 
a Shunamite woman! 


Naaman’s Wire [Turning quickly to the soldier at the door]: 
Go, quickly, and tell the king and say—thus and thus 
saith the maid that is of the House of Israel. [The 
soldier salutes and departs. | 


CurRTAIN. 
The music, Deep Rivers, continues between these scenes 


and throughout Scene II. 


SCENE II. THE AUDIENCE CHAMBER OF THE KING 
i OF SYRIA 


The King is seated wpon a throne. The soldier enters. 


Sotprer [Saluting|]: My lord the King! 
Kine or Syria: Speak. What is thy news? 


214 ELIJAH AND ELISHA SCENE Ul 


Sotprer: As I stood even now by the door of Naaman’s house, 
behold, a little maid whom the Syrians had brought away 
captive out of the Land of Israel waited upon Naaman’s 
wife and said unto her, Would God my lord were with 
the Prophet in Samaria, for he would recover him of his 
leprosy! 


Time this so that the climax in the middle of Deep River 
ts reached as the Kine speaks. 


Kine or Syria [Rising]: Go to. Go, tell Naaman that I 
will send him with a letter unto the King of Israel. And 
take with thee ten talents of silver and six thousand pieces 
of gold and ten changes of raiment. For I will give the 
King of Israel all this if he can recover Naaman, my cap- 
tain, of his leprosy. 


The soldier salutes and departs. 
CuRTAIN. 


The music continues until the curtain parts for Scene III, 


SCENE III. THE AUDIENCE CHAMBER OF THE KING 
OF ISRAEL 


The King is seated upon a throne. A servant enters. 


Servant [Bowing low]: My lord the King, the captain of 
the Host of the King of Syria is come with his horses and 
his chariots, bringing a message from the King of Syria 
for my lord the King. 


Kine [In amazement|: What doth the King of Syria desire 
of me? Bid him enter. [The servant bows and departs. | 


NaaMaAn, accompanied by the soldier, enters and salutes 
the king. 
Soft music, Deep River. 


SCENE III ELIJAH AND ELISHA 215 


Naaman: Hear, oh King. My lord the King of Syria hath 
sent me unto thee. Let the King know that I am griev- 
ously afflicted with leprosy, and there dwelleth in my 
house—as a handmaid unto my wife—a little maid, cap- 
tive out of the Land of Israel. And she saith unto my 
wife, Would God my lord were with the prophet that is 
in Samaria, for he would recover him of his leprosy. 
Now, therefore, my lord the King hath sent me unto 

thee, O King of Israel, bearing a letter. 


He hands a scroll to his servant who bears it to the king. 


Kine [Reading]: “Now this letter is come unto thee, O King 
of Israel, behold, I herewith send Naaman, my servant, to 
thee, that thourmayest recover him of his leprosy om 





The kimg rises and rends his clothes. 
Time this so that the music rises to its climax as the 
King speaks. 


Am I God, to kill and to make alive, that this man doth 
send unto me to recover a man of his leprosy? Where- 
fore consider, I pray you, and see how he seeketh a quarrel 
against me, 

The music ceases. 


Servant [Entering hurriedly, prostrating himself before the 
king|: A messenger from the prophet Elisha waiteth 
without. 


Kine: Bid him enter speedily. 


A messenger enters and stands before the king. 
Soft music, Nocturne, second part, is played till the cur- 
tain parts in Scene IV. 


Messencer: Elisha the Prophet of the Living God to the 
King of Israel. The Lord be with thee! [Lifting a hand 
in salutation| The Lord hath told me all. Wherefore 


216 ELIJAH AND ELISHA SCENE IV 


hath thou rent thy clothes, O King? Let Naaman the 
Captain of the hosts of the King of Syria come now to me, 
and he shall know that there is a prophet in Israel! 


Kine: Go unto Elisha, who dwelleth in Beth-el, and he will 
heal thee, for he is a mighty man of God. 


CuRTAIN, 


SCENE IV. BEFORE THE HOUSE OF ELISHA 


There is a curtained entrance at the back. 


Reaper: So Naaman came with his horses and with his chariot 
and stood at the door of the house of Elisha. [Naaman 
and his servant enter. The servant knocks at the door. 
Euisua’s servant appears. | 


Soft music, Nocturne (second part with deep chords). 


ServANT: My lord, the prophet saith, Go and wash in Jordan 
seven times and thy flesh shall come again to thee, and 
thou shalt be clean. 


The servant reénters the house. 
The music ceases. 


Reaver: But Naaman was wroth and went away and said, 


Naaman [Walking away im wrath, then pausing and turning 
to his soldier]: Behold, I thought, He will surely come 
out to me, and stand, and call on the name of the Lord 
his God, and strike his hand over the place, and recover 
the leper. Are not Abana and Pharpar, rivers of Damas- 
cus, better than all the waters of Israel? May I not 
wash in them, and be clean? 


Reaver: So he turned and went away in a rage. 


SCENE V ELIJAH AND ELISHA 21% 


Servant: My father, if the prophet had bid thee do some 
great thing, wouldst thou not have done it? How much 
rather then, when he saith to thee, Wash, and be clean? 


They depart. 
CurTAIN. 


SCENE V. SAME AS SCENE IV 


Reaver: Then went he down and dipped himself seven times 
in Jordan, and he returned to the man of God, he and all 
his company. 


Naaman reénters. His soldier knocks at the door. 
ELisHa appears. Naaman throws himself at his feet. 


Soft music, Nocturne, to the end. 


Naaman: Thou man of God! I did as thou biddest, and went 
down and dipped myself seven times in Jordan according 
to thy saying; and my flesh hath come like unto the flesh 
of a little child. And I am clean! 


He rises and stands with arms uplifted. 


Behold, now I know that there is no God in all the earth 
but in Israel: now therefore, I pray thee, take a blessing 
of thy servant. 


Exisua: As the Lord liveth, before whom I stand, I will re- 
celve none. 


Naaman: I have brought ten talents of silver and six thous- 
and pieces of gold and ten changes of raiment; and this is 
smal] in return for all that thou hast done for me. My 
lord the King of Syria would be wroth if thou didst have 
no return for this miracle. 


Eisua: As the Lord liveth before whom [I stand, I will re- 
celve none. 


218 ELIJAH AND ELISHA SCENE V 


Naaman: Shall there not then, I pray thee, be given to thy 
servant two mules’ burden of earth? for thy servant will 
henceforth offer neither burnt offering nor sacrifice unto 
other gods, but unto the Lord. 

In this thing the Lord pardon thy servant, that when 
my master goeth into the house of Rimmon to worship 
there, and he leaneth on my hand, and I bow myself in 
the house of Rimmon; when I bow down myself in the 
house of Rimmon, the Lord pardon thy servant in this 
thing. 


Euusua [Lifting his hand in blessing]: Go in peace. 


CurRTAIN, 


The Nativity is published separately (35 cents a copy), by Samuel French, 
25 West 45th Street, New York City. 


THE NATIVITY 








FOREWORD 


One Sunday afternoon at Christmas time, a few years ago, a 
throng of children were hurrying toward a church. There were 
rich children and poor children, of many nationalities and of many 
creeds, all eagerly going in one direction that cold December day. 
Inside the church there was a stir of excitement, and a hundred 
eager eyes were fastened on the long curtain that concealed the 
pulpit platform. 

As the lights were lowered and the choir began a chant, a hush 
fell upon the congregation—then the curtain parted and the 
Nativity Service began. In deepest reverence the congregation 
listened, stirred by an atmosphere of holiness so intense that it 
seemed as if the very gates of heaven had been flung open in that 
little church. 

When the last scene came, showing the light shining out from 
the manger, one little child five years old slid down from his seat, 
saying, “I must go, Mother.” 

“But it is not over,” she whispered. ‘You cannot go.” 

“Mother, I must go,” the child repeated. “I must go and look 
into the cradle, and see the gentle Jesus.” 

Another little boy, a few years older, after eagerly telling about 
it when he reached home, concluded with these words: “Of course 
I knew that Jesus wasn’t really there, but I would rather see that 
cradle with the light in it than all the Santa Clauses in the world!” 


221 


THE CHARACTERS IN THE SERVICE 


Mary, A young girl between 14 and 18 years of age 

JosepnH, A tall boy between 14 and 18 years of age 

GasRIEL, A fairly tall young girl between 14 and 18 years of age, 
with a musical speaking voice 

Zacuarias, A tall boy between 14 and 18 years of age 

THREE oR Four Suepuerns, Little children between 5 and 8 years 
of age 

Tue ANGEL who gives the message to the Shepherds—A little girl 
about 7 and 8 years old, with a clear, sweet voice 

Turee Wise Men, Boys about 17 or 18 years old who can sing 

Tue Heaventy Host, Fifteen to twenty children of various ages 
who can sing 


SCENES 


I. Tue Tempue 

II. Tur ANNuNCIATION 
Ill. Tue Suepuerps in tHe Firtp 
IV. Tue Nativity 


If a shorter service is desired, the Temple and the Annunciation 
scenes can be omitted. 


COSTUMES 


Materials for nearly all the costumes can be found at home. Old 
curtains, draperies, scarfs and shawls serve better than new ma-~ 
terial to give the right sort of color combinations. 

The costumes of the angels are made by sewing two strips of 
white cheesecloth together, with pieces added for the flowing sleeves. 
The angels wear long gowns under the cheesecloth, and their hair 
hangs loose, with a band of gold paper bound about the brow. They 
have no wings. 

Zacharias may wear a gown that combines the colors of blue, 
purple, and scarlet, with a blue robe draped over it, or he may 
wear white linen draped with blue. Blue and white are used for 
the turban, which is bound about with a gold band (Exodus xxxix, 
1, 22, 30,31). 

Mary’s costume is soft blue draped with white. In the Nativity 
scene white cheesecloth is draped over her head. J oseph may wear 
any dark color. 

The shepherds wear little brown or dark blue tunics, with small 
fur rugs or fur neck pieces hung from one shoulder to the opposite 
hip. Their feet are bound with strips of brown cloth to represent 
sandals. Their turbans are brown or blue. They carry shepherds’ 
crooks. 


The wise men are dressed in the richest and most regal costumes 
223 


224 THE NATIVITY 


that can be had;"but take care to keep a harmonious tone combina- 
tion. 

The costumes are made by fastening from the shoulder two strips 
of material that hang to the tops of the shoes, and are sewed to- 
gether on the sides, with openings for the arms. Over the gown is 
fastened a long drapery, which flows from the shoulder out behind 
like a train. It is not necessary for all three to have trains. Silk 
scarfs make good turbans for the wise men. The king wears a gilt 
crown over his turban. Chains or other ornaments that add to the 
richness of the costumes are effective. 


PROPERTIES 


The seven-branched candlestick, the brazier and the censer can 
often be hired from a Russian brass shop. The incense can be 
bought at any store where church supplies are sold. A few pieces 
of red-hot charcoal placed in the brazier make the best fuel on 
which to sprinkle the incense. Two red-hot coals are enough for 
the incense in the censer. 

The light placed in the manger is a hand electric light. It must 
be strong enough to produce the right effect. The light should be 
tied to a small pillow, and the whole wrapped about with white linen 
or cheesecloth in the manner of an infant’s dress. Great care must 
be taken to have the light itself entirely concealed by the cheese- 
cloth, otherwise it may be seen when Mary lifts it from the manger. 

A battery with a small electric light at the end of a long cord can 
be used for the star. The light is placed in a small box, one side 
of which has been cut in the shape of a star and covered with red 
tissue paper, through which the light shines. The box is fastened 
in the midst of some holly above the scene. 


MUSIC 


There should be soft music throughout the whole presentation; 
after each carol or chant the organ softly continues the refrain, 
until it swells again into the next carol. If the voices of any of 
the children who have speaking parts are not strong enough to be 


THE NATIVITY 225 


heard above the music, the organ should stop while they speak. It 
is most important that the one who is to read the Bible throughout 
the service should have a sympathetic voice, with good carrying 
power, as she must read behind the scenes and be heard above the 
organ music. 

The Heavenly Host is the choir which sings the carols behind 
the scenes; they are only seen once when they appear to the shep- 
herds. If the first two chants are too difficult for the children, two 
or three older people can sing these. The chants are on pages 238- 
239. 

“Draw Nigh Immanuel,” “O Little Town of Bethlehem,” “We 
Three Kings of Orient Are,” and “Holy Night, Peaceful Night” 
are found in Old Christmas Carols, by S. Archer Gibson, published 
by G. Schirmer, New York (10 cents a copy). 

“It came upon the Midnight Clear” is in all church hymnals. 


PREPARATION FOR THE SERVICE 


If young people are to act out the story of the birth of Jesus, the 
rehearsals, as well as the festival itself, must be held in the deepest 
spirit of reverence. In order to maintain this spirit and also keep 
the spontaneity of it all, there should be only four or five rehearsals. 
The imaginations of the children can be stimulated to see and feel 
deeply the parts that they are taking They respond quickly to the 
thought that it rests with them to create the right atmosphere for 
the service, and that, unless they themselves feel that deep spirit of 
reverence, the congregation will fail to be stirred by it. 

The Introduction contains further important details as to the 
method of training young people for this service. 





THE NATIVITY 
A CHRISTMAS SERVICE 


The service opens with the singing by the congregation of 
“O come, all ye faithful, joyful and triumphant,” or some 
other Christmas hymn. 

As the hymn closes, the lights are lowered, and the choir 
chants behind the curtain, Isaiah lii, 7-10: “How beautiful 
upon the mountains are the feet of him that bringeth good 
tidings, that publisheth peace . . .” 


SCENE I. THE TEMPLE 


This scene follows closely the description of the sanc- 
tuary as given in Exodus, Leviticus, and Hebrews. The 
sanctuary contains the altar of incense in the center, the 
table of shewbread on the right, and the seven-branched 
golden candlestick on the left (Hebrews ix, 2). Just 
back of the altar are the green screens that conceal the 
Nativity scene. A curtain of old gold or any other soft, 
rich color is hung over the screens to form an effective 
background. 

The altar is represented by a small square table or boz, 
over which gold lacquer paper has been pasted. On the 
altar is a brazier containing a few live coals, on these 
just enough meense is sprinkled to produce a thin cloud 
of smoke. 

The seven-branched candlestick rests on a low table or 
stand covered with a white cloth on the left side of the 
altar (Exodus xuvi, 35). When the angel appears he 

227 


228 | THE NATIVITY SCENE Y 


speaks to Zacharias from behind the candlestick, which 
should, therefore, be of such a height that the lighted 
candles will come below the angel’s head. 

The shewbread, on the right of the altar, is placed on 
another low table covered with a white cloth. Thick, 
round crackers are used to represent the shewbread. They 
are laid in two rows of sia each (Leviticus xaiv, 5-6). 
The action which is described in italics is to take place 
during the reading of the paragraph just preceding it. 
Thus, for example, when the reader says: “There was in 
the days of Herod,” Zacuartas enters and performs his 
service at the altar while the reading is in progress. 
GABRIEL enters when the Reaver says: “An angel of the 
Lord.” 

Follow this policy throughout the service. 

At the close of the chant the curtain parts and the read- 
ing begins. 


Reaper: There was, in the days of Herod, the king of Judea, 
a certain priest named Zacharias, of the course of Abia: 
and his wife was of the daughters of Aaron, and her name 
was Elisabeth. And they were both righteous before God, 
walking in all the commandments and ordinances of the 
Lord blameless. And they had no child, and they both 
were now well stricken in years. And it came to pass, 
that while he executed the priest’s office before God in the 
order of his course, according to the custom of the 
priest’s office, his lot was to burn incense when he went 
into the temple of the Lord. And the whole multitude 
of the people were praying without at the time of incense. 
[Zacuarias enters, carrying incense on a brass platter. 
He goes to the altar, sprinkles some of the incense on the 
coals, places the platter at the base of the altar, and 
stands with his back to the congregation, his hands 
crossed on his breast and head bowed in prayer; then 
slowly raises his arms above his head and looks upward 


SCENE I THE NATIVITY 229 


as the smoke of the incense ascends.| And there ap- 
peared unto him an angel of the Lord standing on the 
right side of the altar of incense. [The angel quickly 
appears and stands behind the candlestick, with hand 
upraised, while he speaks.] And when Zacharias saw 
him, he was troubled and fear fell upon him. [Zacwartas 
draws back in awe.| But the angel said unto him: 


AncrL: Fear not, Zacharias: for thy prayer is heard; and 
thy wife Elisabeth shall bear thee a son, and thou shalt 
call his name John. And thou shalt have joy and glad- 
ness; and many shall rejoice at his birth. For he shall 
be great in the sight of the Lord, and shall drink neither 
wine nor strong drink; and he shall be filled with the 
Holy Ghost, and many of the children of Israel shall he 
turn to the Lord their God. And he shall go before him 
in the spirit and power of Elias, to turn the hearts of the 
fathers to the children, and the disobedient to the wis- 
dom of the just; to make ready a people prepared for 
the Lord. 


Zacuagrias: Whereby shall I know this? For I am an old man, 
and my wife well stricken in years. 


AncEL: I am Gabriel, that stand in the presence of God; and 
am sent to speak upon thee, and to shew thee these glad 
tidings. And, behold, thou shalt be dumb, and not able to 
speak, until the day that these things shall be performed, 
because thou believest not my words, which shall be ful- 
filled in their season. 


The curtain closes as Zacnartias stands with bowed head 
before the angel. 


Reaper: And the people waited for Zacharias, and marveled 
that he tarried so long in the temple. And when he came 
out, he could not speak unto them [Zacwarias steps out 
in front of the curtain and stands before the congregation 


230 THE NATIVITY SCENE II 


with parted lips, as if eager to speak.| and they perceived 
that he had seen a vision in the temple; for he beckoned 
unto them, and remained speechless. [He slowly raises 

_ his hand, in a gesture of wonder.| And it came to pass, 
that, as soon as the days of his ministration were accom- 
plished, he departed to his own house. [He takes one 
step back behind the closed curtain. ] 


The choir sings: “Draw nigh, Immanuel” (first and last 
stanzas). The curtain parts during the last stanza. 


SCENE II. THE ANNUNCIATION 


A prayer stand is placed on the left of the platform 
toward the back, and a tall vase of lilies at the right 
near the front. The curtain that was thrown over the 
screens in the background during the Temple Scene can 
be replaced by a dark blue one, or the screens can be left 
uncovered, 


Reaper: And in the sixth month the angel Gabriel was sent 
from God, unto a city of Galilee, named Nazareth, to a 
virgin espoused to a man whose name was Joseph, of the 
house of David; and the virgin’s name was Mary. And 
the angel came in unto her and said: 


Mary enters, pauses by the lilies, touches them and bends 
over to smell them, then passes over to the prayer stand, 
turns the leaves of the Bible, and becomes absorbed in 
reading. Suddenly the angel appears just back of the 
prayer stand. Mary, im wonder, takes a few steps back- 
ward. 


Ance.: Hail, thou that art highly favored, the Lord is with 
thee: blessed art thou among women. 


SCENE II THE NATIVITY 231. 


Reaper: And when she saw him, she was troubled at his say- 
ing, and cast in her mind what manner of salutation this 
should be. And the angel said unto her: 


AnceEL: Fear not, Mary; for thou hast found favor with God. 
And, behold, thou shalt bring forth a son, and shalt call 
his name Jesus. He shall be great, and shall be called 
the Son of the Highest: and the Lord God shall give unto 
him the throne of his father David: and he shall reign 
over the house of Jacob forever; and of his kingdom there 
shall be no end. The Holy Ghost shall come upon thee, 
and the power of the Highest shall overshadow thee; 
therefore also that holy thing which shall be born of thee 
shall be called the Son of God. For with God nothing 
shall be impossible. | 


At the words “Son of the Highest”—Mary sinks upon 
one knee with her arms crossed upon her breast. 


Mary: Behold the handmaid of the Lord; be it unto me ac- 
cording to thy word. [Mary bows her head. | 


Reaper: And the angel departed from her. 


As the angel departs Mary gazes after him im wonder, 
then rising, passes to the prayer stand and kneels m 
silent prayer while the choir chants the Magnificat (Luke 
t, 46-50). At the close of the chant the reading con- 
tinues. 


Reaper: And Mary arose in those days, and went into the 
hill country with haste, into a city of Juda. 


Mary rises and leaves the room by the same way through 
which she entered. 
CurTAIN. 


The choir sings: “It came upon the midnight clear.” 
During the singing of the last stanza the curtaim parts. 


232 THE NATIVITY SCENE III 


SCENE III. THE SHEPHERDS IN THE FIELD 


A camp fire—made by placing electric lights covered with 
red tissue paper tn the midst of a few hemlock boughs— 
ts in the foreground on the left. If the sides of the 
chancel have been decorated with Christmas greens and 
pine trees, this with the green screens and the lowered 
lights are all that is necessary to give a vivid suggestion 
of a field at night. 


Reaper: And it came to pass in those days, that there went 
out a decree from Cesar Augustus, that all the world 
should be taxed. (And this taxing was first made when 
Cyrenius was governor of Syria.) And all went to be 
taxed, every one into his own city. And Joseph also went 
up from Galilee, out of the city of Nazareth, into Judea, 
unto the city of David, which is called Bethlehem (because 
he was of the house and lineage of David), to be taxed 
with Mary his espoused wife. And so it was that while 
they were there she brought forth her first born son, and 
wrapped him in swaddling clothes, and laid him in a man- 
ger; because there was no room for them in the inn. 
And there were in the same country shepherds abiding in 
the field, keeping watch over their flock by night. [The 
shepherds enter and seat themselves in a semicircle on 
the ground at the left.| And, lo, the angel of the Lord 
came upon them, and the glory of the Lord shone around 
about them; and they were sore afraid. And the angel 
said unto them: 


At the words “Angel of the Lord’—The angel swiftly 
enters from the right, and stands with hand raised. The 
shepherds start to their feet and draw back a few steps 
im awe. . 


ANGEL: Fear not: for, behold, I bring you good tidings of 
great joy, which shall be to all people. For unto you is 


SCENE IV THE NATIVITY 233 


born this day, in the city of David, a Saviour, which is 
Christ the Lord. And this shall be a sign unto you: Ye 
shall find the babe wrapped in swaddling clothes, lying 
in a manger. 


Reaper: And suddenly there was with the angel a multitude 
of the heavenly host, praising God, and saying: [Many 
children in soft white robes enter swiftly from the right 
with both arms raised, their flowing sleeves giving the 
appearance of floating. | 


AncEts | Bursting into the chant]: Glory to God in the highest, 
and on earth peace, good will toward men.” [The ANGELS 
softly pass out. | 


Reaver: And it came to pass, as the angels were gone away 
from them into heaven, the shepherds said one to another: 


The shepherds watch the departing angels in wonder and 
awe; then one turns to the others and speaks. 


SHEPHERD: Let us now go even unto Bethlehem, and see this 
thing which is come to pass, which the Lord hath made 
known unto us. 


The shepherds pick up their crooks and depart. 
CurTAIN. 


The choir sings: “O, little town of Bethlehem.” 


SCENE IV. THE NATIVITY 


The screens that have been concealing the Nativity scene 
are removed to show the manger scene. In the center back 
is a basket or wooden bow filled with straw to repre- 
sent a manger. The only light in the scene is shining 


234 THE NATIVITY SCENE IV 


out of the manger full upon Mary’s face, as she is seated 
on the right bending over it. Joseru is standing just 
back of the manger. There are two boxes at the foot of 
the manger covered with rough draperies, and other 
draperies hang at the back of the scene. An electric star 
in the midst of pine or holly is placed above the scene, 
but is not lighted until the wise men appear. The curtain 
parts during the last stanza. 


Reaper: And the shepherds came with haste [The shepherds 
enter softly at the left and kneel close to the manger with 
hands clasped in prayer.| and found Mary, and Joseph, 
and the babe lying ir a manger. And when they had 
seen it, they made known abroad the saying which was 
told them concerning this child. And all they that heard 
it wondered at those things which were told them by the 
shepherds. But Mary kept all these things, and pon- 
dered them in her heart. And the shepherds returned 
[The shepherds rise and slowly depart, looking back at 
the manger until they are out of sight.| glorifying and 
praising God for all the things that they had heard and 
seen, as it was told unto them. 

Now when Jesus was born in Bethlehem of Judea in 
the days of Herod the king, behold, there came wise men 
from the east to Jerusalem, saying: 


Wise Men: Where is he that is born King of the Jews? For we 
have seen his star in the east, and are come to worship 
him. 


The wise men are standing in the aisle at the back of the 
church; they say this im unison. 


Reaver: When Herod, the king, had heard these things, he 
was troubled, and all Jerusalem with him. And when he 
had gathered all the chief priests and scribes of the 
people together, he demanded of them where Christ should 
be born. And they said unto him, In Bethlehem of Judea: 








And the shepherds came with haste and found Mary, and Joseph, 
and the babe lying in a manger 





SCENE IV THE NATIVITY 235 


for thus it is written by t.e prophet: And thou, Bethlehem, 
in the land of Juda, art not the least among the princes of 
Juda: for out of thee shall come a Governor, that shall 
rule my people Israel. Then Herod, when he had privily 
called the wise men, inquired of them diligently what time 
the star appeared. And he sent them to Bethlehem, and 
said, Go and search diligently for the young child; and 
when ye have found him, bring me word again, that I 
may come and worship him also. When they had heard 
the king, they departed: [At the word “departed” the 
wise men begin to walk slowly down the aisle, and the 
star appears.| and, lo, the star, which they saw in the 
east, went before them, till it came and stood over where 
the young child was. When they saw the star, they re- 
joiced with exceeding great joy. 


The organ strikes the opening chord, and the wise men 
begin to sing: “We three kings of Orient are.” They 
should reach the steps leading to the pulpit platform at 
the close of the first verse. As they kneel on the steps 
the choir joins with them in singing the chorus: “O star 
of wonder, star of light!” 


Reaper: And when they were come into the house, they saw 
the young child with Mary his mother, and fell down, and 
worshiped him: and when they had opened their treas- 
ures, they presented unto him gifts; gold, and frank- 
incense, and myrrh. [Pause, until the wise men depart. | 
And being warned of God in a dream that they should not 
return to Herod, they departed into their own country 
another way. 


The wise men remain kneeling until the reader comes to 
the word “gold”; then the king slowly rises, and ascend- 
ing the steps, kneels in front of the manger and removes 
his crown, holding it above his head for a moment so that 
the congregation may plainly see his gift. He then 


236 THE NATIVITY SCENE IV 


places tt on the ground before the manger and remaims 
with his head bowed im silent prayer for a few seconds 
longer, then slowly rises and descends the steps, watching 
the babe all the time. 

When he is again kneeling with the other two, the reader 
continues with the words, “and frankincense.” The wise 
man having the censer now ascends the steps, and kneel- 
mg, swings the censer high above the manger, then places 
it beside the crown, and departs in the same way. When 
he is again kneeling with the others, the reader says, 
“and myrrh,” and the-last wise man presents a silver box, 
as the others presented their gifts. When he has descended 
the steps, the three remain kneeling together in worship as 
the reading continues. At the close of the passage they 
raise their arms in adoration, and bow low in oriental 
fashion, then rise and depart, passing down the other 
aisle from that by which they came. In leaving, they 
must keep their eyes on the manger and pause to look 
back at it as they pass slowly down the aisle. 

When the Wise Men have left the church the choir sings: 
“Holy night, peaceful night.” As the music begins, 
JosEPH leaves the place where he has been standing, and 
seating himself at the foot of the manger, at the left, 
rests his hand and arm upon the boxes and closes his 
eyes m sleep. Mary covers the babe with a bit of white 
drapery that has been hanging over the side of the man- 
ger, and continues to gaze into the manger. 


Reaper: And when they were departed, behold, the Angel of 
the Lord appeareth to Joseph in a dream, saying: 


The angel passes in behind Josrru while he sleeps and 
bends over him as he speaks with hand upraised. 


ANGEL: Arise, and take the young child and his mother, and 
flee into Egypt, and be thou there until I bring thee 
word: for Herod will seek the young child, to destroy him. 


SCENE IV THE NATIVITY 237 


As the angel departs, Joseru awakes. He sits rapt in 
thought, looking far out over the congregation, as if he 
were thinking deeply about the dream. Finally he turns 
to Mary and leans toward her over the manger. She 
responds as if she read his thoughts, and together they 
rise. They pass in front of the manger. Mary takes the 
babe in her arms, while Josnru stands close beside her 
with one arm outstretched protectingly. 


Reaper: When he arose, he took the young child and his 
mother by night, and departed into Egypt: And was there 
until the death of Herod, that it might be fulfilled which 
was spoken of the Lord by the pr oe saying, Out of 
Egypt have I called my son. 


As the reader speaks, Mary and Josrru depart slowly, 
bearing the babe. The electric light, which represents 
the babe, is concealed by the draperies which are bound 
about it. She holds it in such a way that the light from 
it shines on her face. When Josrru and Mary have de- 
parted the scene is left in darkness. 


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THE PRODIGAL SON 


CHARACTERS 


Tue Faruer 

THe Ev.per BrotHEerR 
THe Youncer BrotTHER 
SEVERAL SERVANTS 


THE PRODICAL SON 


Scene I. A Hay in tHe FatuHer’s House 
Scene II. A Fievtp 1n a Far Country 
Scene III. A Frevp Near THE Fatuer’s Home 


The rock in the field upon which the Prodigal Son sits is repre- 
sented by a box covered with brown cloth or burlap. 

In the first scene the Younger Son can wear red robes and a silk 
turban. His sandals are bound with strips of red cambric. In 
the second scene, a ragged tunic replaces the first one, and his legs 
can be bound with burlap and cords. He wears no turban. 


MUSIC 


Far Country Music ... The Death of Ase, Peer Gynt Suite, 
Part II, by Greig (Victrola). 

Longing and Repentance Theme ... Holy Night, Christmas 
Song, by Adolphe Adam (Victrola or mart 

Feast Music . . . Anitra’s Dance, Peer Gynt Suite, Part I, bs 
Greig (Victrola). 

The use of cymbals to emphasize the rhythm in this dance as it 
is heard in the distance adds to the effect of the sound of music and 
dancing. 


243 


Ae, fis a 


hig 
Mi Ee 


lilies 
Lathes 


iy - 





THE PRODIGAL SON 
SCENE I. A HALL IN THE FATHER’S HOUSE 


The Fatruer ts seated upon a couch, a servant is busy 
trimming a lamp that hangs behind him. 


Son [Entering]: Father, give me the portion of goods that 
falleth to me! 


Fatuer: So be it, my son. Thou art of age, and thou shalt 
have thine inheritance. [He rises and departs. ]| 


The Son impatiently walks around the room, and finally 
throws himself wpon the couch, the elder brother enters. 


Exper Brotuer: Why art thou not in the field with me? The 
harvest is ripe and there is work for us as well as for the 
servants. 


Son [With an impatient gesture|: Work! I will have done 
with labor. Am I not the son of my Father and he is 
exceeding rich! [ will even now take mine inheritance and 
go upon a journey into far countries ! 


Exper Brotuer: Alas, my brother, have we not more than 
enough of joy here in our father’s house, that ye must 
needs leave us and depart? 


The Fatuer reénters, followed by two servants bearing a 
chest. They place it m the center of the platform. 


Faruer [Taking his younger son by the hand and leading him 
to the chest|: I hereby give to thee thine inheritance. 
And may thou use it prudently and well, that thy days 

245 


246 THE PRODIGAL SON SCENE II 


may be long in the land which the Lord thy God giveth 
thee! [Placing his hand upon his head] The Lord bless 
thee and keep thee, my son, both now and for-ever. 


CuRTAIN, 


The Death of Ase is played between these scenes. 


SCENE II. A FIELD IN A FAR COUNTRY 


Reaper: And not many days after, the younger son gathered 
all together and took his journey into a far country, and 
there wasted his substance with riotious living. 

And when he had spent all, there arose a great famine 
in that land and he began to be in want. 

And he went and joined himself to a citizen of that 
country; and he sent him into his fields to feed swine. 


The son slowly enters and sinks down upon a rock. His 
garments are soiled and torn. 


Son: I fain would fill my belly with the husks that these swine 
do eat! [He rests his head on his staff in despair. ] 


Reaper: And no man gave unto him. 


The music ceases—a moment’s silence—then the Christ- 
mas Song begins. 


Reaper: And when he came to himself he said, 


Son [Looking up]: How many hired servants of my father’s 
have bread enough and to spare, and I perish with hunger! 
[Rising] I will arise and go to my father, and I will say 
unto him, Father, I have sinned against heaven and be- 
fore thee, and am no more worthy to be called thy son, 
make me as one of thy hired servants. 


SCENE II THE PRODIGAL SON 247 


He sinks to his knees in silent prayer, then returns to the 
rock, takes up his ragged coat and staff and departs. 
The music grows louder and continues until the curtam 
parts for Scene Ill. 


SCENE III. A FIELD NEAR THE FATHER’S HOME 


The Fatuer enters earnestly talking to his elder son. 
Farner: Ah, my son, how long it is since thy brother hath 
been gone from us! I fear some evil hath befallen him! 


Son: Verily, he is either dead or he hath altogether forgotten 
us and will not return again. I have watched for him, 
but now I do watch no longer. ! 


Farner: God forbid that my son, my beloved son be dead! 
Son: I must return to the fields for the harvest is not yet 
gathered in. [He departs. | 
Soft music, the Christmas Song. 


Reaper: And he arose and came to his father. 


Far across the fields some one is approaching. The 
Father gazes long at the distant figure, then calls a ser- 
vant who is passing. 


Fatuer [T7'o Servant]: Who is that, who cometh yonder 
across the fields? 

Servant: It is a beggar, my Lord. 

Faruer [Still gazing]: Nay, me thinks it is not a stranger— 


Reaper: But when he was yet a long way off, his father saw 
him, and had compassion on him, and ran and fell on his 
neck and kissed him. 


Fatuer [With a cry]: It is my son! My younger son!—re- 
turned again!! [As he hurries toward the left with out- 


248 THE PRODIGAL SON SCENE III 


stretched arms, the son enters slowly and stands with 
bowed head. The Faruer throws his arms about him and 
then kisses him on both cheeks. Servants hurry in and 
stand grouped in amazement at one side. | 


Son [Drawing back in shame from his father’s embrace and 
kneeling before him]: Father! I have sinned against 
heaven and in thy sight and am no more worthy to be 
called thy son—make me, I pray thee, as one of thy 
hired servants— 


Farner [Joyously to the servants]: Bring forth the best robe 
and put it on him, and put a ring on his hand and shoes 
on his feet. 


The servants hurry out and returning with these articles, 
remove his ragged coat and place them upon him. 


Fatuer: And bring hither the fatted calf and kill it, and let 
us eat and drink and be merry [Putting one arm about 
his shoulder] for this my son was dead and is alive again, 
he was lost and is found! The father and son depart 
together as the servants bow to them. 


The music ceases, a pause—Anitra’s Dance is heard. 


The Exper Brotuer enters and pauses to listen to the 
sounds of rejoicmg. A servant hurries past bearing a 
large platter of fruit. 


Evpver Broruer [To the servant]: What is this sound of 
music and dancing? 


SERVANT: Thy brother is come! And thy father has killed 
the fatted calf for him! [The brother looks horrified] 
—Wilt thou not go in?— 


Exper Brorner [Angrily]: Nay! I will not! I will not go 
in! [He paces angrily to and fro, the servant hurries 
out. | 


uos AY} poT[eo oq 07 AYPIOM o1OUL OU UI pue yYSIS AY] UI puw UDAROY YSUTRSR pouuIS IARY T “19YVeT,, 


‘ 








SCENE III THE PRODIGAL SON 249 
The music grows louder. 


Reaper: Then the servant went and called his father. [A 
pause—the music ceases] Therefore his father came out 
and entreated him. 


Soft music, Christmas Song, to the end. 


Faruer [Entering hurriedly]: Son! Thy brother hath come 
again! 

Brorner [Sullenly]: Lo, these many years do I serve thee, 
neither transgressed I at any time thy commandments, 
and yet thou never gavest me a kid, that I might make 
merry with my friends.—But as soon as this, thy son, was 
come, which hath devoured thy living with harlots, thou 
hath killed for him the fatted calf! 


Fatuer [Putting his hand on his shoulder and speaking in 
tones of gentle rebuke|: Son, thou art ever with me and 
all that I have is thine. It were meet that we should make 
merry and be glad; for this, thy brother, was dead and is 
alive again! [In joy and triumph] He was lost and is 
found. 


The music swells to triumphant strains as the Farurr 
takes his son by the hand and leads him out. 


CurRTAIN. 





THE RESURRECTION 


The Resurrection is published separately (35 cents a copy), by 
Samuel French, 25 West 45th Street, New York City. 


CHARACTERS 


PILATE 

Two Roman So.piers 

Tue CrenrTurion 

JosepH or ARIMATH@A 

Two Cuter Prissts 

Two or Turee PHarisEEs 
Perer, a Disciple 
Joun, a Disciple 

Mary tHe Moruer or JAMES 
SALOME 


Mary MacpaLeNnre 
Two ANGELS 


TuHE Voice or JxEsus 


THE RESURRECTION 
AN EASTER SERVICE 


SCENES 


PRELUDE—THE CRUCIFIXION 
I. Tur Avuprence CHAMBER OF PontTiUS PILATE 
II. Tue Guarp at THE SEPULCHRE 
III. Tur WomeEN at THE SEPULCHRE 
IV. Tue DiscipLes av THE SEPULCHRE 


COSTUMES 


Pilate wears a white Roman toga bordered with scarlet. 

The High Priests should not wear their priestly robes in coming 
to Pilate, but they should be richly dressed, preferably in purple 
robes over white. A gorgeous ornament can be hung about the 
neck. The headdress is a silk scarf for a turban. There is also 
an ornamental girdle. 

The Pharisees wear any rich color combination. 

The soldiers wear short, full skirts of brown or red. Their hel- 
mets can be made of pasteboard covered with silver paper or 
painted. They carry spears. A description of how the armor is 
made is found under “Suggestions for Properties’ in the Intro- 
duction. 

Mary Magdalene wears white and red. 

John is usually dressed in white with a belt and turban of another 
color. 

Peter wears brown or blue as the predominating color. 

The angels are dressed in white cheesecloth robes with long, 
flowing sleeves. There are narrow gold bands about their fore- 


heads. They have no wings. 
253 


254 THE RESURRECTION 


THE SEPULCHRE 


The sides of the sepulchre are made with screens. Gray blankets 
are stretched over the top. Dark blue mosquito netting can line 
the inside, giving a softer tone for the interior. The screens should 
be curved so that there is a space on each side of the interior for 
the angels to stard concealed. 

The entrance to the sepulchre should be low and wide. Within 
the sepulchre is a bench covered with a sheet to represent the marble 
bier. On the bier are laid the linen cloths. It must be so arranged 
that the interior of the sepulchre can be lighted with electricity, 
the lights being in the two corners on each side of the entrance. 
The whole sepulchre should be covered with sprays of pine or 
hemlock. 


MUSIC 


There should be soft music throughout the whole presentation. 
The choir should be concealed behind the scenes. After the hymns 
or selections from the Passion Music, which are given between the 
scenes, the organ should softly continue the refrain until it swells 
again into the next hymn. 

The Easter hymns given in this service are published by H. W. 
Gray & Co., 2 West 45th Street, New York, in Booklets I, II, and 
III of their Easter Carols (price, 744 cents each). 

The selections from the Passion Music are reprinted from Oliver 
Ditson Company’s edition of the Passion according to St. Matthew, 
by Johann Sebastian Bach (see page 267). 


PREPARATION FOR THE SERVICE 


Four or five rehearsals should be all that is necessary in order not 
to lose the spontaneity and the atmosphere of reverence which must 
be felt by the actors. All those who take part in it must know that 
it is not so much what they do as what they themselves feel that 


THE RESURRECTION 255 


is of first importance. It rests with them to create the atmosphere 
which like a garment of light will clothe the whole service. Let 
the actors read the Resurrection story again and again during the 
time of preparation until they feel that they themselves have become 
part of it in the deepest sense. 

The Introduction contains further important details as to the 
method of training young people for this Service. 


WPS a 





as 


} 


THE RESURRECTION 
PRELUDE—THE CRUCIFIXION 


The organ softly plays Selection I of the Passion Music 
(page 192), during the following reading. The Reader 
stands behind the scenes; only the voice is heard. 


_fkaper: And when they were come to the place which is called 
Calvary, there they crucified Him. 

And there were two thieves crucified with Him, one on 
the right hand, and another on the left. 

Then said Jesus, Father forgive them; for they know 
not what they do. And they parted His raiment and 
cast lots. 

And Pilate wrote a title and put ison the cross. And 
the writing was, Jesus of Nazareth the K ing of the Jews. 

And it was written in Hebrew, and Greek, and Latin. 
. Then said the Chief Priests of the Jews to Pilate— 
Write not, the King of the Jews, but that He said I am 
King of the Jews. 

Pilate answered, What I have written I have written, 

Now there stood by the cross of Jesus His mother, 
and His mother’s sister, Mary, the wife of Caiaphas, and 
Mary Magdalene. 

And the people stood beholding. And the rulers also 
with them derided Him, saying, He saved others; let 
Him save Himself, if He be Christ, the chosen of God. 

And the soldiers also mocked Him, coming to Him, and 
offering Him vinegar. 

And saying, If Thou be the King of the Jews, save 
Thyself, 

257 


258 THE RESURRECTION SCENE I 


The organ changes here to Selection II of ihe Passion 
Music and continues to play it softly during the whole 
of the Pilate scene. 


And it was about the sixth hour and there was a 
darkness over all the earth until the ninth hour. 

And the sun was darkened and the veil of the temple 
was rent in the midst. 

And when Jesus had cried with a loud voice, He gave 
up the ghost. 

Now when the Centurion saw what was done, he glorified 
God, saying, Certainly, this was a righteous man. 

And all the people that came together to that sight, 
beholding the things which were done, smote their breasts 
and returned. 

And all His acquaintance, and the women that followed 
Him from Galilee, stood afar off, beholding these things. 


Tue Curtain Parts 


SCENE I. THE AUDIENCE CHAMBER OF PONTIUS 
PILATE 


A screen draped with gorgeous hangings forms the back- 
ground for the chair where Pivare sits, a little to the — 
left. A rug may be placed before the chair. 


Pivate enters, heavily brooding, preferably from a door 
at the side of and below the platform, followed by two 
Roman soldiers. He ascends the steps and seats himself. 
The soldiers take their stand on either side at the foot of 
the steps. 


Reaper: And now when even was come, because it was the 
preparation, that is the day before the Sabbath, there 
came Joseph of Arimathea, a councillor of honorable 


SCENE I THE RESURRECTION 259 


estate, who also himself was looking for the kingdom of 
God. And he went in boldly unto Pilate. 


Joseru enters by the same door; the soldiers cross their 
spears to prevent his approach; he boldly brushes the 
spears aside and passes swiftly wp the steps to PILATE. 


JosEpH: Sir, Give me, I pray thee, the body of Jesus Christ 
which thou hast crucified. 

Pirate [Looking up in amazement |: Is He already dead? 

JOSEPH: Yea. 


Private [To the soldiers]: Bring unto me the Centurion. 
One soldier departs and returns with the Centurion. 


Piruate: Hath Jesus been any while dead? 


Centurion: Yea, my Lord, at the ninth hour, He cried with a 
loud voice, Father, into Thy hands I commend My spirit, 
and having thus said He gave up the ghost. 


PILATE shows signs of agitation. 


Pirate: Let the body of Jesus be given to this Joseph of 


Arimathea. 
The Centurion bows to PiuaTeE. 
Centurion [Pausing on the steps and speaking earnestly to 


JosePpH |: Truly this man was the son of God. 


Soupier [Stepping forward and saluting|: Sir, the Chief 
Priests and Pharisees are without. 


Prrate: Admit them. 


The soldier returns to the door and admits two priests and 
three pharisees. 


260 THE RESURRECTION SCENE II 


Priest: Sir, we remember that deceiver said, while He was yet 
alive, After three days I rise again. 

Command therefore that the sepulchre be made sure 
until the third day, lest His disciples come by night and 
steal Him away, and the last error be worst than the 
first. 


Piuate: Ye have a guard, go your way, make it as sure as ye 
can. 


They depart, bowing. 
Curtain. 


The organ plays Selection III of the Passion Music dur- 
ong the changing of the scene. As the reading begins the 
music softly continues. 


SCENE II. THE GUARD AT THE SEPULCHRE 


The sepulchre is seen, in the back. The door of the 
sepulchre is made of a tightly drawn strip of dark gray 
cloth. Two boxes covered with the same gray cloth form 
rough seats on the right of the entrance to the sepulchre. 


Reaver: Joseph came, therefore, and took down the body of 
Jesus. , 
And there came also Nicodemus, which at the first came 
to Jesus by night, and he brought a mixture of myrrh and 
aloes. 
And they brought fine linen and wrapped Him in the 


linen with the spices. 


The curtain parts. Two women are seated on the right of 
the sepulchre in attitudes of deep grief. 


Now in the place where Jesus was crucified there was 
a garden and in the garden a new sepulchre which was 


SCENE II THE RESURRECTION 261 


hewn out of a rock wherein never man before was laid. 
There laid they Jesus. And they rolled a great stone unto 
the door of the sepulchre and departed. 

And that day was the preparation,and the Sabbath 
drew on. 

And Mary Magdalene was there and the other Mary, 
sitting over against the sepulchre. 

Then came the chief priests. [As the priests approach 
the women hastily depart. | 

And they sealed the stone. [The priests set their seal 
on the sides of the sepulchre. | 

And they set a watch. 


The priests motion to two soldiers who have entered on the 
right. The soldiers take their stand on either side of the 
sepulchre. 


Then they departed. [The priests depart.] 


The choir sings the first and third verses of “Near the 
Tomb Where Jesus Slept.””—( Easter Carols, Book I.) 


During the singing of this hymn each soldier in turn paces 
slowly back and forth while the other stands by the side 
of the tomb. 


Reaver: Now, late on the Sabbath day, as it began to dawn 
toward the first day of the week, an angel of the Lord 
descended from heaven and came and rolled away the 
stone from the door of the tomb. H.s countenance was 
like hghtning and his raiment white as snow, and for fear 
of him the watchers did shake and became as dead men. 


At the word “tomb” the door of the sepulchre suddenly 
falls away; a strong light shines full on the angel stand- 
ing in the entrance. 


262 THE RESURRECTION SCENE III 


Swiftly the angel steps outside the tomb, standing with 
arm upraised. 
The guards stagger back and fall, face down, upon the 
ground. 
Curtain. 


The choir sings: “Alleluia, the Strife is O’er.’—(Easter 
Carols, Book III.) The organ plays the melody softly 
throughout Scene III. 


SCENE III. THE WOMEN AT THE SEPULCHRE 


There is more light in this scene. Lilies should be banked 
on either side of the sepulchre. 


The three women enter, if possible, from a door on the 
right and beyond the pulpit platform, and, passing to 
the front aisle of the church, slowly ascend the steps to 
the platform. 


Reaper: And when the Sabbath was passed Mary Magdalene 
and Mary the Mother of James, and Salome brought 
sweet spices that they might come and anoint Him. And 
very early in the morning on the first day of the week 
they came to the tomb at the rising of the sun. And 
they were saying among themselves: 


Mary Macpartene [Pausing on the steps as she turns to 
speak to the other two]: Who shall roll us away the stone 
from the door of the sepulchre? 


SAaLoME: Behold! the stone is rolled back, for it is exceeding 
great! 


Mary Macpavene enters the sepulchre while the other 
two women stand by the entrance gazing in. Then re- 
appears and stands in the entrance as she speaks: 


SCENE III THE RESURRECTION 2638 


Mary Macpatene: The body of the Lord Jesus is not here! 
I will run and bring his disciples word. 


Mary Macpatene swiftly passes out from the sepulchre 
between the two women and hurriedly leaves the platform. 


Reaver: And it came to pass, while the women were perplexed 
thereby, 


The other two women now move toward the right, turn- 
ing again to look at the sepulchre mm amazement and dis- 
tress. 


Behold, two mci: stood by them in shining garments. 
And as they were afraid and bowed down their faces to 
the earth they said unto them, 


The sepulchre is suddenly flooded with light. Two angels 
step out from the sepulchre and stand on either side of 
the entrance. The women step back gazing at the angels 
im awe. 


Ancet [Slowly raising one hand]: Fear not, for I know that 
ye seek Jesus which was crucified. Why seek ye the 
living among the dead? He is not here, for He is risen, 
even as He said. Come, see the place where the Lord lay. 
Remember how He spake unto you when He was yet in 
Galilee, saying, The Son of Man must be delivered into 
the hands of sinful men and be crucified and the third 
day rise again. 


Tur OtrHer Mary: ’I remember His words! 


Seconp AncreL: And go quickly and tell His disciples that 
He is risen from the dead, and behold, He goeth before 
you into Galilee. There shall ye see Him. Lo, I have told 
you. 


264 THE RESURRECTION SCENE IV 


The angels quietly withdraw into the sepulchre and dis- 
appear as the light fades—tleaving the tomb in darkness 
again. 


Reaver: And they departed quickly from the tomb with fear 
and great joy. 


The women rise and depart in wonder and joy. 
The curtain is not drawn during this hymn. 


The choir sings the first verse of “Come, See the Place 
Where Jesus Lay.”—(Easter Carols, Book II.) 


SCENE IV. THE DISCIPLES AT THE SEPULCHRE 


Reaver: Now in the meantime Mary Magdalene runneth and 
cometh to Simon Peter and to the other disciples whom 
Jesus loved and said unto them, 


Peter and Joun enter, passing up the left aisle from the 
back of the church. Mary enters from a door on the 
right. She hurries towards them, speaking to them as 
they approach the front of the church. 


Mary Macpatrene: They have taken away the Lord out of 
the sepulchre, and we know not where they have laid Him! 


During the reading Joun hurries past Peter, and ascend- 
ing the steps to the platform, stands looking into the 
sepulchre. 


Reaper: Peter therefore went forth and the other disciple, 
and came to the sepulchre. And they ran both together} 
and the other disciple outran Peter and came first to the 
sepulchre and, stooping and looking in, he seeth the linen 
clothes lying, yet entered he not in. 


SCENE IV THE RESURRECTION 265 


Preter reaches the sepulchre and enters. 

Mary Macparens ascends the steps slowly behind the dis- 
ciples with bowed head and, stands at the left of the sepul- 
chre. 


- Then cometh Simon Peter following him, and entered 
into the tomb, and he beholdeth the linen clothes lying, and 
the napkin that was about His head not lying with the 
linen clothes but wrapped together in a place by itself. 

Then entered in therefore the other disciple also which 
came first to the sepulchre, and he saw and believed. 


Joun [Reappearing in the door of the sepulchre]: He is risen! 


Reaper: Then the disciples went away again unto their own 
home, 


Joun followed by Prtsr, leaves the sepulchre in wonder 
and awe. 


Mary Macpaene moves to the right of the sepulchre and 
stands close by the entrance with head bowed. Her face 
is covered with her hands, as the choir sings the following 
hymn. 


Reaver: But Mary was standing without at the sepulchre, 
weeping. 


Lhe choir sings the first and third verses of “Through 
the Long Hidden Years.’’—(Easter Carols, Book III.) 


Rraper: So as she wept she stooped down and looked into 
the sepulchre. And she beholdeth two angels in white sit- 
ting, one at the head and one at the feet, where the body 
of Jesus had lain. 

And they say unto her, 


As Mary looks into the sepulchre it is suddenly flooded 
with light. The two angels are seen seated within at either 
end of the white bier. 


266 THE RESURRECTION SCENE IV 


AncEL: Woman, why weepest. thou? 


Mary Macpatene: Because they have taken away my Lord 
and I know not where they have laid Him. 


Reaper: When she had thus said she turned herself back, and 
beholdeth Jesus standing, and knew not that it was Jesus. 


Mary turns, looking beyond the scene toward the right. 
The light nm the sepulchre fades and the angels vanish. 


Vorce: Woman, why weepest thou? Whom seekest thou? 


Reaver: She supposing Him to be the gardener, saith unto 
Hin, 

Mary Macpatene [Taking a step toward the right with hands 
outstretched m supplication]: Sir, if thou hast borne Him 


hence, tell me where thou hast laid Him and I will take 
Him away. 


A strong light suddenly shines out from whence the voice 
is heard. 


Voice: Mary! 


Mary MacpaLene: Rabboni! Master! 


Mary gazes for a moment in sudden wonder, then takes 
several swift steps and sinks on one knee with hands out- 
stretched m the shaft of light as she speaks. 


CuRTAIN. 


the organ plays the Passion Music, Selection I, while the 
congregation sits in stlence, then the minister may rise 
and lead the congregation in the Lord’s Prayer. 

The lights in the church are turned on and the congrega- 
tion can close the Service by singing an Easter hymn. 


Matthew 


By 


ing to Gt. 
JOHANN SEBASTIAN BACH 


he Passion 


Girrord 


SELECTION I. 





SELECTION II. 





SELECTION III. 


Anuante con moto (d).t08) 


VIOLIN SOLO 





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